Prong - Carved Into Stone (2012)

Some bands, as they age, show signs of slowing down.  Not necessarily in terms strictly of speed, either in how fast they play, or how fast albums come out, but in terms of the quality & vitality of their material.  Other bands just get better with age, continuing to hone their core sound while massaging it and adding elements as they release a new album.  Prong, while thought to be lost after 1996's "Rude Awakening", came back to mixed reception in 2002, and then went on an extended break again after Tommy Victor joined the Danzig ranks for touring.  2007's "Power of the Damager" was a ray of light, offering hope that Tommy hadn't abandoned his audience, and it was a fiery assault worthy of the Prong name.  2012 saw the band return after another 5-year break, to some fanfare.  Some hailed it as the best thing they'd done since their magnum opus, 1994's "Cleansing".  Does it hit that mark?  Almost.

I will qualify that statement by saying that if you're not a fan of anything Prong has released since 1996, you'd do well to check out both this album and its predecessor for quality Prong material.  If you have and you're still not digging it, you couldn't call yourself much more than a casual fan of their material.  While I agree that "Cleansing" remains their most consistently captivating and quality effort, they've reached highs with their 2 most recent albums, from differing angles.  "Power of the Damager" is a powerful (excuse the pun) record with a lot of grit, energy, passion, and Tommy's signature riffing.  "Carved Into Stone" follows that aural assault up with a slightly more studied approach that is no less entertaining, just a bit more subdued and restrained.

Where "Power of the Damager" went for the jugular more often than not, "Carved Into Stone" prefers a more melodic approach.  There are definitely moments of ferocity, like the muscular opener "Eternal Heat", "Keep On Living In Pain", "List of Grievances" or the punchy "Subtract".  The bulk of the record, however, veers toward the more mid-paced, melodic territory of the material on "Rude Awakening".  Before the haters cry foul, let me say that while I don't think "Rude Awakening" is a bad record by any stretch, I recognize that it's not Prong's best work.  But on the whole, that album was all about mid-paced, groovy, melodic songs versus a more diverse approach.  This same approach is used here, but to greater effect, as the set of songs is stronger overall.  Where "Rude Awakening" had a number of songs that ran into one another without a lot of individual identity, "Carved Into Stone" corrects those mistakes with better melodies, more memorable songs, and improved pacing.

Tommy's signature guitar crunch is in tow here, and the production values highlight that by giving the guitar a very "up front" kind of position in the mix.  The guitar tone here is a bit different than that of "Damager" and has a touch less bite overall, but is a little meatier at the same time.  As always, Tommy's guitar riffing takes center stage, and he sounds great here.  Something that we get to hear Tommy do far more on this record than he's done before is solo - a number of the songs have guitar solos.  These aren't all just short blasts, or the "follow the vocal melody" variety either, as there are a couple extended solos.  Hearing this on the record was at first a bit jarring, and felt a bit "tacked on" or out of place, but after having spun the record numerous times, it makes sense and comes off more naturally than at first listen.  In addition, assuming I even have to say it, Tommy's pinch harmonics sound as awesome as ever.  Vocally, Tommy sounds good, though he is admittedly less energetic than on "Damager", which had a lot of interesting vocal things going on.  But he sings melodically and gets the job done.

Ministry's Tony Campos does an admirable job on the bass, providing the necessary counterpoint for Tommy's riffing without being overly flashy or doing anything that takes away from the core of the Prong sound, which is the groove and crunch of Tommy's guitar.  Bass sits nicely in the mix as well, being audible and able to be heard as its own instrument, yet providing that necessary thump and thickness to the proceedings.  Drum work by Alexei Rodriguez is a highlight.  He replicates a lot of the groove-based approach that previous drummers have done where appropriate, but he adds a lot of double-bass in places where some previous skinsmen would have just continue to groove on.  It's a nice change of pace, and gives the album a bit more personality in that area than some previous albums have had.  Drums are also placed well in the mix, not overpowering either bass or drums, but sitting quite nicely beside them.

I made mention of the songs here being strong, and they are.  "Eternal Heat" is a great opener, filled with energy and great riffing.  "Keep On Living In Pain" follows that up to complete a one-two punch of powerful material, complete with groovy chorus and strong riff.  "Revenge...Best Served Cold" is the best "single" the band has released since "Snap Your Fingers, Snap Your Neck", even slightly beating out the awesome "Controller" from "Rude Awakening".  "Put Myself To Sleep" is a song that marries both the energy and melodicism that Prong is known for.  "List Of Grievances" keeps the record interesting by picking up the pace and giving the listener a kick in the ears, as well as pulling out one of the longer, more killer solos Tommy played on the record.  The title track then slows things down for a heavy dose of groove, but keeps things melodic with a hooky chorus.  "Subtract" also picks up the pace again and provides another strong dose of energy.  The album has no lack of quality songwriting, that's for sure.  Lyrically, Tommy treads the usual murky waters of disenfranchisement, human failing, paranoia, and general distaste for the state of affairs of the world.  So, as usual, there's nothing new here, but that's not necessarily a bad thing.

With all this positivity, where's the downside?  I love this record, and have listened to it countless times, but I can't shake the feeling that Tommy is so close to achieving a "personal best" and is just barely missing the mark.  I loved "Power of the Damager" as well, but felt that the album's set of songs wasn't as strong as they could be.  This has a better grouping of material, but lacks the punch, aggression, and urgency of its predecessor.  As I mentioned before, Tommy's vocals on this album are a bit "safe" for him.  He sounds great, but with all he did on "Damager", one wonders if he didn't like the results, or just felt that the material here, being of a more melodic nature, didn't benefit from those flourishes, and I'd agree.  I guess I just feel that if Tommy took the best elements of "Damager" (i.e. the aggression, energy, passion, and a more varied vocal approach), and combined those with the best elements on display here (overt melodicism, strong memorable songs, quality production/mix, pacing), he'd be at that apex where he might be able to match or even exceed "Cleansing".  The other potential hiccup is the production - Prong has sounded good on every post-"Cleansing" album, don't get me wrong.  But "Cleansing" had something in that Terry Date production that gave it that extra push.  That record has this really "dense" sound that gives it an air of heaviness that other Prong efforts haven't quite had.  The foreboding tone of the record lent itself so well to the material that it was the perfect storm of creative songwriting, performance, and production.

Overall, I feel like both "Damager" and this outing have explored separate sides of the same Prong coin, and while I dig the predecessor's urgency and aggression, this record has the edge because of its songwriting and the quality of the whole package.  If Tommy can come off this album and follow it up with something equally strong, yet bring in a bit more variety in the vocal department and more contrasts between the melodic and the aggressive, and hone the production to give the whole thing that extra ounce of power, he just might pull it off.  In the meantime, "Carved Into Stone" is an album I will continue to listen to and enjoy, knowing that at the very least, Tommy isn't resting on his laurels and continues to write and record great stuff.  Just don't take another 5 years to give us a follow-up this time, mkay?  Highly recommended.

89/100

**A word on the vinyl release!  I own both the retail digipak CD issue, and the 2xLP edition.  The vinyl itself sounds great, and while not probably 180g, is at least reasonably weighty enough to feel good when you're setting it on the turntable.  The brown marble platters are a nice touch.  My only gripes are that there are no lyrics on either inner sleeve (lazy design choice), and that there's no indication ANYWHERE on the records, packaging, inner or outer sleeves that these platters spin at 45 RPM instead of the requisite 33 1/3 RPM that most LPs opt for.  45 RPM was the right choice for a double LP, I just wish somewhere it had indicated that.  On the plus side, the vinyl edition comes with a bonus track, a cover of Rammstein's "Feuer Frei!" track.  It's a good cover, sufficiently sounding like Prong but being recognizable as a cover of the original.  It's curious that Prong chose to cover the track, because Rammstein could probably have been accused of being influenced by Prong, so I guess it comes full circle.  It sounds like a song that Tommy could have written, and the performance speaks to that.  Also, the vinyl version comes with the full album (minus bonus track) on CD in a paper sleeve!  So if you're a vinyl enthusiast who likes getting the digital download with purchase, this is even better.  It's a shame that this is the only place outside of iTunes to get the cover track, but ultimately the album itself is the main draw.

Crosswire - A World in Flame (2010)

In mainstream music, it is good to be number one.  Getting a number one hit or number one album is a lofty goal, but nearly everyone ascribes to it because when you reach that pinnacle, you're on top of the proverbial world for a short while.  If you can sustain it, as a scant few have, you've struck gold.  For those in the underground, it's much less about being number one, or finishing first in the race, so to speak.  It's often more about the journey - how does your music define you as an artist, and how do you grow from album to album or project to project in your playing, singing, writing, and overall artistic abilities.  The journey is about learning, improving, and making interesting art along the way that hopefully affects enough people (other than yourself) to make doing it worthwhile.

It could be said that rock and roll music is not all that original these days.  There are a large number of offshoots and sub-genres of rock music, ranging from the folky indie rock sounds of The White Stripes to the barren wastes of black metal.  Retro is in, and if you play glam metal (Steel Panther, anyone?) or thrash metal (Lich King, Warbringer, Arnion, Evile, etc), you are nearly guaranteed an audience.  But what about bands playing just straight-up, hard hitting rock and roll with attitude to spare?  They have their fan base as well, though they may not be as readily apparent or ravenous for the music as the aforementioned camps.  Still, there are plenty of fringe AC/DC fans who just love hard rock music, and that is the key to the success of bands like Crosswire.

Right away I was struck with the similarities to recent band Jet, whose 2 radio singles from their debut were instant touchstones as I spun the disc and began listening to "This Richman".  Crosswire aren't clones, however, as they distill other influences throughout that song, as well as throughout the album.  Shades of Jet come through, as well as nods to Cinderella, Guns 'N Roses, and a bit of Lynyrd Skynyrd (more about that later).  The other thing that is apparent immediately is that this is a low-budget rock record, and PROUD of that fact.  The production values are very stripped down and the sound is raw, which helps give this record some charm and spunk that it would lack if it had been more processed and more "sterile" sounding.  There is an undercurrent of blues permeating this record that gives the songs a certain swagger, and the whole thing is very catchy and memorable, a nice feat for a new band, especially given the somewhat throwback nature of their chosen style.

Guitars ring out loudly and without much regard to what might get in their way, with a nice crunchy tone that recalls the aforementioned bands without aping any of them.  The occasional clean or acoustic guitar is also gleefully under-produced, which means that sometimes you can hear the mistakes or sections where the band isn't at their best.  This works both for and against the band, in that, this almost "live" feel shows what the band might sound like in a club and that they can pull the material off in a live setting, but may wear on some listeners who look for a more polished album performance.  Bass guitar is well done, and even featured in one track ("Justin Case", a short instrumental, almost a joke song), sounding nice and adding sufficient undertone to the proceedings.  Drum work is mostly tight, though a few slightly more sloppy spots again highlight the live feel of the album.  Keys (organ work, primarily) is good here, and adds a nice touch.  A few tracks benefit from that extra layer, and they are well played to appropriately add that layer without being obtrusive.  Vocally, the album is a mixed bag.  Seth is at times right in the pocket where he needs to be, hitting notes on the head and singing/howling his heart out.  There's one portion of "Look To the Sky" which is particularly impressive, where he pulls out a rapid-fire delivery of several lyrics that echoes Guns 'N Roses' Axl Rose in terms of how he pulls it off.  Then there are moments where he falls flat, literally, by under-singing notes just enough that it becomes apparent he's at the limit of his range.  The other moments where things don't stack up vocally are the slower bits, particularly the ballad "Miles To Go".  Seth needs to develop his vocal chops a bit more before attempting this kind of emotionally heavy ballad, because while his honesty is felt, his performance leaves a lot to be desired in this track.

"A World in Flame", the band's debut, is a solid, listenable hard rock album that benefits from the zeal and attitude that comes through the performances, as well as the apparent knack for songwriting that is already present in the material.  Where it is lacking is their overall tightness and polish.  I feel like if the band tightened their musical attack ever so slightly, and polished the production in the same manner, the rough edges of the band might be honed down just enough to make the listening experience that much more enjoyable.  The other thing that must be said is that while they make effective up-tempo rockers ("This Richman", "World In Flame" or "Southbound Train"), as well as good mid-tempo stompers ("(Stop Your) Love On the Road", "Look At the Sky" or "Desert Eagle Blues"), they haven't mastered the ballad yet.  "Miles To Go" comes across as the bands' "Freebird" moment, where they'd hope the entire club was on their feet waving lighters around and singing along to the up-tempo chorus.  The problem is, where "Freebird" is a classic because of its winning combination of songwriting, emotion, energy, and flawless performances, "Miles To Go" just comes off as amateurish by comparison, and the aforementioned "live" feel of the record just exacerbates this by showing all too up front that the band isn't ready to take on this kind of song yet.  Add the cheesiness of the lyrics (despite being heartfelt), and the album is taken down a couple notches because of this one albatross of a track.  Having said that, it's not the worst ballad in history, just a painful reminder that the band needs to continue to develop their songwriting chops before taking on this kind of challenge again.  Fans of hard-hitting rock and roll that tire of the multi-layered and over-produced schlock on the radio will rejoice in this release, and I find myself spinning it semi-frequently just to get that bluesy rock and roll flavor in once in a while.  I will recommend this to fans of old-school rock, as well as fans of Jet or the other bands mentioned earlier.  There's plenty to like here, and if you can see past the flaws, you're in for a pretty good listen.

70/100

Eisley - The Valley (2011)

You have to admire the persistence of artists, especially those who were born to be so.  Many a musician well past their so-called prime have been accused of being washed-up, has-been players who shouldn't even be out embarrassing themselves on the club circuit, let alone trying to recapture their "glory days".  Other musicians get out there and make great music but fail to make an impact and quit out of sheer frustration due to the lack of recognition of their art.  But for those who were truly made to be musicians, it's difficult for them to get out of the craft, even when life comes at them from all sides and makes things more "interesting" than they might be used to.  This is when the rubber meets the road, and when only the strong survive.

The difficulty and drama Eisley experienced from 2007 forward has been well documented, so I won't write a book here about the events that caused the band's 3rd studio full-length release to be so delayed since 2007's "Combinations" album, the release that was to catapult the band into super-stardom (in indie-pop terms, anyway), and get Eisley the recognition they so rightfully deserve as one of the reigning female-fronted bands of this style.  Sadly, though "Combinations" did raise their profile somewhat, it failed to garner the band the fame and record sales that the record company was probably hoping for, and as a result, the relationship between Eisley and Warner Bros was likely tenuous prior to the end of their contract came up in 2010.  Add the personal tragedies and drama within the ranks of the band, and it's easy to see why it took nearly 3 years between writing and recording to finally get their 3rd album out to the fans.

One thing that must be said about Eisley is that they certainly know who they are.  While the band's sound has shifted away from the slightly more obtuse indie-pop of earlier efforts to a much more radio-ready version of their sound, it's still immediately recognizable as Eisley, in part due to the consistency of their material, but also the lovely voices of the DuPree sisters and their effortless delivery (despite their assertions to the contrary).  The band still combines a somewhat tough (for indie-pop, anyway) guitar delivery with delicious vocal harmonies, acoustic and mellow passages, perfect pop melodies, and tight instrumentation.  What has changed since the earlier releases is that they have a much more "focused" sound, than they did early on.  Some songs lean more toward the melancholy while others are more "up" or happy sounding, but nothing sounds too far from a middle ground that vacillates between "hopeful yet pensive" and "sad but optimistic".

Guitar is just right for this kind of music - the sort of tightly played, yet slightly lazy rhythm playing that embodies what makes this kind of music so much fun to listen to.  It's deceptively simple, the kind of thing that might give an aspiring musician (who's also a fan) the impression that they could run up on stage and join in with the band and jam out.  At the same time, it's also concise in its presentation, well executed and content to be an integral part of the instrumentation, but not overbearing in the mix.  Piano and keyboard work is excellent as always, with Stacy's playing on this album reflecting an almost "bouncy" quality that keeps the mood light, even in the more somber songs.  Bass guitar sounds good alongside the guitars and drums, and is well played, though as expected with this style, not flashy or doing anything overly complicated.  Drum work is competent and well suited to the material, with the appropriate level of weight when needed, and more dynamic when the songs call for it.  The additional orchestral flourishes (such as is found in "Kind", for example) are a nice touch, and sound great in context with the material.  As always, vocally the material is a delight.  While Chauntelle maintains that her vocals aren't her strength, I personally feel all 3 sisters sound fantastic, and that perhaps that imperfection is part of the charm of the overall vocal sound - there's a certain feeling present in a voice that isn't classically trained that you just don't get from vocalists who are trained to avoid certain personal inflections or inclinations.

I've been listening to this album pretty solid for months now, and I think it's a strong release.  One understands the context of the lyrics better when having some knowledge of the events leading up to the album's release, which isn't necessary for interpreting them, but certainly gives the listener the upper hand.  The album's penchant for lyrics dwelling on broken or lost love is both a strength and a weakness, in that the common theme works well, but by the end of the album it can be a bit too much drama.  After all, how many songs can one write about the dissolution of a marriage and love relationship before they've said everything that can or needs to be said about the subject?  Still, that's only a minor criticism, as there's enough depth and breadth to the songs that the subject matter isn't entirely stale by disc's end.  I do miss the more obtuse lyrics of some of the earlier releases, and I also miss the more broad scope of material as well.  This album, as I said, is very focused in sound.  Don't expect to hear a "Marvelous Things" or "Lost at Sea" here, because you won't.  There's far more "Telescope Eyes", "Invasion", or perhaps "Golly Sandra" in the material here.  One of the things that initially attracted me to the band was the sort of weird vibe that "Marvelous Things" and its video had.  That's not what made me stay hooked, however - it was the vocal harmonies and the combination of songs that were incredibly tuneful and memorable all at once.  So while the band has in some ways "lost their innocence", they still have the memorable and tuneful material in droves, so a record like this is infinitely listenable.  I guess the best way to say it is this: this isn't my favorite Eisley release, but I consider it a triumphant return for a band that was in the throes of personal tragedy, and certainly a record that any fan of Eisley should eat up without hesitation.  Fans of indie-pop in general undoubtedly already know of this album, and likely already have it in their collection.  If you're just getting into the style, I'd recommend getting "Room Noises" first, if only to see the range of the band before delving into either "Combinations" or this platter.  Otherwise, I have no reservations recommending this strongly.

82/100

Artist Spotlight - Mad At The World

It may seem old-fashioned or even kind of goofy now, but the expression "mad at the world" was at one point a perfectly reasonable thing to say when you were frustrated.  Nowadays it's all f-bombs and histrionics, with everyone scrambling to outdo everyone else's expressions of frustration and anguish.  But you don't have to scream at the top of your lungs to be heard, nor do you need to pepper lyrics with expletives to get the attention of those who might benefit from your stated position and/or message.  It helps sometimes, but taking the high road is usually the best way of communicating these things to your audience, because in the long run, the short-lived attention getting techniques may only serve to later alienate the audience as they age, so the impact you may have once had will be lost.  Avoiding these kinds of pitfalls will ensure a more lasting, positive impact on the crowd who may be listening to you.

Such is the case with Mad At The World, who came out in the late 1980's with a new sound (for "Christian music" anyway), a bit of a fresh perspective, and a decidedly intelligent lyrical bent that expressed the disenfranchisement and detachment some people felt with the world at large, in a way that would have both immediate impact, as well as leaving a lasting impression.  In the years that followed, MATW (as they shall heretofore be known) changed their game (more than once) and took on dark subject matter from a vantage point of exposing those things and shining upon them with truth and light so as to warn listeners of societal and spiritual pitfalls, as well as being frank about things that some folks weren't entirely comfortable being frank about.  It is this blatant honesty and vulnerability that made MATW so endearing to listeners, and why so many years later they are still held in such high regard.  The fact that their music (regardless of what genre they were taking on) is great certainly helps as well.

MATW started out in 1987 when Roger Rose began composing music and recorded a demo tape that landed in the hands of a Frontline Records executive.  Roger's tape was impressive enough to garner him a record deal, and he then set out recording the eponymous debut album with younger brother Randy, and guitarist/bassist Mike Pendleton in tow on several tracks.  Initially, the style was a very Depeche Mode-esque synth/dance pop with a melancholy bent and a very serious lyrical direction.  This was not to be bubble gum pop music, but real thoughtful pop with weight and meaning to it.  The debut was released in 1987 to critical acclaim among the CCM press, and fans of the synthpop style ate it up.  The 2nd release, "Flowers in the Rain", saw the group incorporating more traditional instrumentation beyond the synthpop base they started out with, so there were more drums and guitar on the record, as well as more rock-oriented songs and arrangements than before.  Indeed, the last track on the album "Dancing On Your Grave" (with the first lead vocal by Randy Rose) signaled the coming change to a more hard rock direction.


The 3rd release, 1990's "Seasons of Love", showed the band shifting entirely toward an alternative/hard rock style, complete with an acoustic ballad, several hard rocking tracks, and more blues-influenced arrangements.  This album also included 2 tracks with Randy on vocals, giving him more opportunities to show his talent as not only the band's drummer, but also as a vocalist with a decidedly grittier approach than Roger's more smooth vocal sound.  The 4th album, "Boomerang" (1991) took the hard rock sound full-on, sporting even harder tracks and more straight-ahead rock arrangements than ever before.  This album included more tracks with Randy on vocals, and the band's most controversial track, "Isn't Sex a Wonderful Thing?", which posed the question that if God created sex, shouldn't it be a wonderful thing?  Unfortunately, as the lyrics explore, it's not always wonderful when used out of the context of a marriage relationship, as the examples of misuse of sex provided by the song will attest to.  1992 saw the band's 5th album "Through the Forest", often considered the best by fans of the group.  This saw a continuation of the alternative hard rock sound from the previous 2 albums, but had an overall darker tone with punchier songs and arrangements, as well as material that was a bit more exploratory in nature with other stylistic elements included for great effect.  One particular highlight was "M.A.T.W. (Reprise)" which was a driving hard rock remake of the band's eponymous track from the debut album.  The final track on the album, "If I Can Dream" is a cover  of an Elvis song, and a stylistic departure from the rest of the material, signalling another change in direction.  Also departing were Mike Pendleton and guitarist Brent Gordon.


"The Ferris Wheel", released in 1993, saw the band moving away from the hard rock of the previous 3 releases into a more alternative pop-rock (or power-pop) direction, concentrating less on muscular guitar-driven songs and more on pop and rock arrangements, with a decidedly less "tough" sound, reminiscent of mid-period Beatles music in many respects.  While Randy continued to explore a heavier hard rock/metal sound in his band Rose, he was lock-step in MATW with more mellow tunes on this disc as well that he wrote and sang.  Randy also brought in 2 members of his solo band, Ben Jacobs on guitar and Mike Link on bass to round out the line-up.  Coming some 2 years after that was the band's final studio album, "The Dreamland Cafe", which featured an even greater emphasis on Beatlesque power-pop than before, as well as tinges of light psychedelia.  Some of the material, according to interviews, was played entirely by Roger Rose.    Though this was the last studio album the band recorded, they remained active in some fashion until 1998 when they officially called it quits.  Randy continued making solo music for a time (under the new Mothership moniker), and Roger disappeared from the music industry limelight.  1998 also saw the release of "World History", a somewhat uneven compilation album of tracks from the band's 1st 6 albums - curiously, their final album is not represented on the release at all.  Also curious is that the compilation steers toward the more mellow side of the band, though a couple harder rock tracks are included, rather than exploring all facets of the band's sound.


The band's impact is difficult to quantify, because they were a small fish in a small pond, in the sense that they didn't sell a lot of albums, and were probably more critical darlings than a band with a large fanbase.  Still, their influence can be heard throughout popular Christian music over the following decade and then some.  Synthpop duo House Of Wires covered the song "Mad At The World" on their 2nd album "Monogamy", and many bands from a number of genres have expressed both respect for and love of the music of MATW.  Some other bands respect what MATW accomplished musically and lyrically, even if they aren't necessarily fans of MATW's music.  Either way, Roger and Randy Rose (and the other various members of MATW through the years) have made an impact on the rock music world with their songs and their hearts worn decidedly on their sleeves.  I salute MATW for their creative approach, their lack of fear in changing things up when they felt called to do so, and for the wealth of great music they have released.

Vinyl Confessions - Grave Robber releases

I love vinyl albums.  I love the large-scale artwork, the spinning of the album on the platter, and the sound that emanates from my speakers when a record is playing.  I also love the collect-ability of vinyl and how limited edition releases can enhance an artist or band's discography beyond just standard CD's, digital releases, or even cassettes.  Vinyl is the traditional collector's choice of format, despite the arrival of the 21st century and the Internet Age.  While vinyl never went away (the underground rock, punk and hardcore scenes still thrive on this), the mainstream has now embraced vinyl once again.  The problem with this is that most current mainstream vinyl releases are of the "audiophile" variety, i.e. they are overly expensive 180-gram vinyl that costs 2-3 times as much as either a CD or digital release would cost.  Now, I'm all for high-fidelity audio, but I don't think most folks who listen to Nirvana or Metallica are the proud owners of $5,000+ audio systems with $2,000 turntables that contain diamond styli.  I'm certainly not in that camp, and I suspect I'm not alone by a long shot.


So it is with great joy that a vinyl lover like myself can find great deals on classic albums (via thrift stores or second-hand record shops), as well as when current artists release new music on vinyl, whether those releases are included in the original "run" of an album, or whether they are a special or limited edition situation that happens some time later.  Even more fun is when a band puts out a vinyl release that has that extra something special that makes it either more fun, more collectible, or just more desirable to own.  Hand numbering, free digital downloads included, CD-R copies of the release as a bonus, etc.  These are all great features of a modern vinyl release.  But at the end of the day, the vinyl lover has to be satisfied with the purchase of the vinyl album, since the amount of physical space that record takes up has to be worth sacrificing to own it.

Awesomesauce.

Thankfully, the recently issued triumvirate of Grave Robber albums are worth the space on your shelf.  Kudos to Vinyl Remains for flying the indie vinyl release flag, and for issuing these 3 beauties.  Grave Robber's debut album, "Be Afraid" checks in first with new cover art, as well as a delicious golden see-through vinyl.  The band's 2nd album "Inner Sanctum" is released as well, and despite having the same artwork as the CD release, looks great at that size and sports a snazzy see-through red platter.  And finally, the recent compilation "Exhumed" is here, also with original artwork, but in a wonderful bright green see-through record that ties in nicely with the green logo on the front.  In addition, each release includes a 2-sided semi-gloss print that has artwork and album credits printed on them.


The albums sound great in vinyl form, though I am biased because I already enjoy the music contained therein.  My audio setup I usually use (at my office) isn't high-end by any stretch - I have a table-top "retro" stereo unit w/ a top-side turntable and then have a nice set of Logitech speakers plugged into that with great frequency range and response, and a nice subwoofer included in the package.  So while a bit of the "vinyl hiss" is present due to my somewhat lacking configuration, it still sounds great while it's spinning.  The music comes across sufficiently loud like the original CDs do, with no additional mastering evident.  From a sound perspective, these things don't disappoint.  The see-through colored vinyl albums are a treat, and though most indie vinyl re-issues or special editions are released in either colored see-through or the sort of opaque "tie-dye" style nowadays, I am still giddy like a school boy when I see the bright colored records slide out of the sleeves.  The retro graphics styling on the vinyl center portion is also great, giving it that sort of late 50's, early 60's feel.

Don't they just look tasty?!

Here are the few (minor) negative things.  First, they're not numbered.  Yeah, that's a small quibble, but with the indie vinyl market being a specialized as it is, it's always a treat to have them numbered, even if they're not individually so by hand, but if the sleeve mentions how many copies were pressed.  Secondly, there are no lyrics.  Why include nice semi-gloss printout sheets if you're not going to include the lyrics?  It's true that Grave Robber's lyrics are pretty easy to hear and make out, but I still think including lyrics would have been a nice touch.  Third, there's no download option.  This is also a very small issue, but one that should be noted.  If you're going to purchase the full album in vinyl format, it's a good idea to provide a download of the item.  This doesn't affect me personally, because I already own all 3 of these on CD (the 1st and 3rd of which I own in multiple versions), but for vinyl lovers looking for their fix, in today's world, it's also a good idea to include something they can throw on their chosen media player.  I don't consider the exclusion of the band's cover of "Children of the Grave" to be an issue (available on the CD version of "Inner Sanctum") because the vinyl probably wouldn't have had enough space to include it.


Despite my minor complaints, these are a MUST for Grave Robber fans who are also fans of vinyl.  If you already have these albums in either digital or CD format, and you're not a collector or vinyl fan, they're probably not an essential purchase, especially if you don't own a turntable to play them on.  The exception to that rule is if you're purchasing them again to help support the band, to which I say bravo.  Vinyl needs to stay alive for more than just the collector's market (and nerds like me), and this band is too important not to support.  Their message is important, their approach is unique, and everything about their music is done right.  Highly recommended.

Comics Love - Mega Man from Archie Comics!

There are few things that truly polarize video game fans like classic rivals.  Mario vs. Sonic, Nintendo vs. Sega, etc.  In the video game world, one thing that separates Mega Man fans is the divide between the classic, original games, and all the spin-off series' and over-saturation of the video game market of the Mega Man "brand".  Done right, however, a Mega Man game is a thing of beauty - a hard-as-nails, brilliant game that challenges even the best players and gives them all a run for their money, and something that gives a player their money's worth.  Not by giving them 50 hours of gameplay comprised of level grinding or cut scenes and an endless barrage of dialogue (though those aspects can be fun too), but merely by forcing the player to think on their feet, memorize certain aspects of each level, think critically about the weapons and tools they have at their disposal, and also by choosing the order in which to fight and defeat bosses to gain weapons that may give Mega Man a specific tactical advantage over another foe or level.

The Blue Bomber is all his 8-bit glory.

Most die-hard classic Mega Man fans are of the mind that the original series is best, and that while Mega Man X had merit, lost the feel of the original.  Then there are those that prefer the later Mega Man games, in part because they're balanced differently and because they offer updated graphics, sound, and gameplay mechanics.  I tend to lean toward the 1st camp, though I consider myself a big fan of the Mega Man X series, having purchased the original PC version and the Playstation X4 and X5 games, as well as owning both the Mega Man Anniversary Collection for GameCube (original Mega Man series) and the Mega Man X Collection for PlayStation 2.  I haven't yet plunked down the dough for Mega Man 9 on WiiWare, or the fairly new Mega Man 10 for same (play as Protoman!), but rest assured, I will be taking that leap at some juncture.  I have Mega Man Zero for Gameboy Advance, but other than that, I haven't taken the jump into the 3-D Mega Man games, nor have I delved into the Battle Network or other series offshoots.  Suffice to say, I just think Mega Man is best served up as a side-scrolling platformer with bosses to fight and weapons to earn.


So while this is a good time to be a classic Mega Man video game fan, what with the collections widely available (and now very inexpensive to buy used), as well as PSP ports of Mega Man X: Maverick Hunter (EXCELLENT port which I own) and Mega Man: Powered Up (snazzy remake of the original Mega Man title), Mega Man has not fared as well in other media.  Sure, there was his appearances in Captain N: The Gamemaster (still lame fun after all these years), and he has been seen in various Japanese anime OVA, but no Mega Man cartoon has graced western TV screens (for shame!).  There have been a number of manga and comics featuring Mega Man, but rarely has The Blue Bomber been seen outside of Japan in anything that resembles the classic Mega Man we know and love.  Indeed, it seemed as if lovable "Rock" (more on that later) would be forever lacking a comic book tribute stateside.


Thankfully, Capcom has answered that call and is working together with Archie Comics, of all publishing houses, to fulfill that niche.  Known simply as "Mega Man" and featuring classic characters and artwork that is both eye-catching and yet faithful to the original series' vision and look/feel, Archie Comics and Capcom have done a great fan-service to the Mega Man fan community by presenting a comic that captures the essence of what Mega Man is and translating that to the page.  Not only do you get fantastic artwork by Patrick "SPAZ" Spaziante, but the story in the comic is well-written, which both references Mega Man series canon and fleshes it out more than the gaming medium allowed for in the original NES design.

Yes, it really does look that good!

The thing I really like is how they're not rushing the story along.  They allow Rock (the name of the robot assistant who was transformed into Mega Man, for the uninitiated) to become a "person" of sorts, not just a one-dimensional character who fights for humanity's sake.  Dr. Light is portrayed well, as is Rock's sister robot "Roll".  Dr. Wily is, of course, portrayed as a major meanie, though perhaps he's not as well developed (yet) as he could be.  Though the battles with the robot masters are fairly one-sided and short-lived at this point, they still add to the story and give the comic that much more credibility.  My only quips at this point are a couple of Mega Man canon concerns: first, you can plainly see Rush the robot dog on the cover of Issue #1, though he doesn't appear (thankfully), which may be either a goof or simply an homage.  Secondly, the first issue already mentions that Mega Man can charge his Mega Buster for an extra powerful shot, though technically the Charge Shot wasn't introduced (or indeed, upgraded into Mega Man's design) until Mega Man 3 on the NES.  Aside from those minor concerns, with the 1st 2 issues thus far I am duly impressed and am looking forward to the rest of the series.  I stumbled across this the month it was released in a comic store while looking for additional character issues of The Guild (got both Tink issues!), and I'm happy to say that it was $2.99 well spent because it was an enjoyable read through.  I can see myself going back and re-reading these again once the whole series is out, merely for the enjoyment of the Mega Man story (experiencing it again for the first time, so to speak), and taking in more of the artwork and noticing the little nuances in the design.

So I say a major THANK YOU to Archie Comics for teaming up with Capcom and FINALLY giving us Westerners a taste of Mega Man in print that many of us have been longing for, outside of the expensive hard-bound artbooks.  Hopefully this will be a successful venture and encourage both Capcom and Archie to continue this trend of classic Mega Man schwag for us veteran fans.  What's the final verdict on the Mega Man comics?  They "Rock"!

Jem is truly outrageous, truly, truly, truly outrageous!

TRULY outrageous.

This entry might make me look like a big sissy, but I'm an 80s nerd, so humor me.  During the late 80s when Jem debuted, I was forbidden to watch it because it was all about "rock and roll" and of course, that was not something my parents wanted me having any part of.  I think if my parents sat down and watched Jem, however, they would have realized that half the TV shows my younger brother and I watched had more violence, "adult" content, and "adult themes" than Jem.  That said, the only place I could watch this cartoon was at friends' houses.


I'll skip the long storyboard and just cover the essentials.  Jerrica is a well-to-do music publishing mogul, an early 20's American dream come true.  She not only owns a music company, but also moonlights as the pop superstar Jem in "disguise" for some reason, so she enlists the help of a super computer (named Synergy) created by her father, who left it to her after dying of cancer.  With the computer's help, Jerrica can quickly "change" into Jem via Synergy's ability to create the holographic illusion that Jerrica is then Jem, along with other illusions.  Keeping this secret, of course, becomes the central theme of most of the show, along with Jem's rival all-girl rock band, the not-so-cleverly titled Misfits.  Sidebar: how do you suppose they avoided a lawsuit with the punk band that had been around 10 years prior to the show's debut?  In any event, these 2 plot points intersect frequently, with both the Misfits and their manager Eric trying to discover the secret identity of Jem all the time.  Of course, her bandmates know it's Jerrica, but Jerrica's milquetoast-yet-loyal boyfriend Rio doesn't know, presumably for his own safety and that of Jem and the Holograms.


The central question is this: if Jerrica is this rich girl who owns this big music publishing company, and has this powerful super computer at her disposal, why doesn't the group become this big sensation and tour the world?  One must conclude that it's because that would be harder to base a weekly Saturday morning cartoon after.  Why do the Misfits have it in for Jem and the Holograms so much?  Is it because they're "bad rocker girls" or just because they're snotty brats who never grew up?  So many questions, no real answers.  But then, such is the joy of Saturday morning cartoons designed to brand products and sell stuff to parents who will buy it for their kids.


All in all, though this was designed as the girls version of G.I. Joe or the Transformers (both of which I loved as a kid and still enjoy to this day), it had enough appeal to cross over somewhat, and I enjoyed watching it when I had the opportunity.  Kudos to the TV channel "Hub" for picking the show up again, despite the somewhat storied licensing issues (which is why the show doesn't have a complete DVD release yet).  My wife and I have enjoyed watching Jem again, despite the utter lameness of it all.  Perhaps that's why we like it so much.  I mean, I can't stomach the Smurfs after all these years, and Scooby Doo is only passable.  But for some reason Jem lives on, and is still entertaining at some level.  But then it's better than half of the schlock that passes are cartoons these days.


Jem has seen a resurgence in popularity of late, partially due to the recent re-syndication of the show, but also because there are some Jem fan-sites popping up on the Internet, but also because a show like Jem with the big hair, wild clothes, and over the top 80's fashion is SO perfect for the cosplay crowd it's downright scary.

You only wish you were this cool.

There's even a "Jemcon" apparently happening in Holland this year (it started in 2005 in Minneapolis, of all places), so I'm guessing there will be a gaggle of Jem-obsessed fans dressed in their best Jem and the Holograms or Misfits (or Stingers!) custom outfits and costumes, parading around enjoying their cartoon that lasted all of 3 seasons.  But then I shouldn't complain: G.I. Joe was "technically" only on the air for 2 seasons before the made-for-TV movie aired and derailed the series, until 4 years later when the plot-line was resurrected for a series reboot.  But for Jem fans, it appears that the Internet has been a good thing.


Here's the interesting/confusing part: there's now a relatively new pop star who goes by the name "Jem", and unlike her fictional 80's glam pop/rock counterpart, this Jem is a pop-star of hipster proportions, with music that combines snarky pop, trip-hop, and other elements to make an interesting and enjoyable modern pop sound.  Not sure whether or not the choice of stage name is based on her real name, or whether it has anything to do with the 80's cartoon, but it's an interesting correlation nonetheless.  Apparently her music has been featured in a lot of TV shows already, so apparently she's already making good on publishing deals.


All of this rambling to say that I'm glad Jem is back on TV, and my wife is glad as well because it's a piece of our childhood we get to relive as adults and enjoy a little mindless fluff entertainment after a hard day of work.

Orphan Project - Spooning Out the Sea (2009)

Perfection is difficult to achieve. In fact, it's impossible. The only human being to ever achieve perfection was Jesus Christ, and that's only because He was also God. However, humanity has an in-born propensity to strive for said perfection. We do it in everything - our jobs, our families, our hobbies, and in our relationship with Christ. Ultimately we fail, and He is there to pick us back up again & push us forward as we continue to strive for that perfection. Though we knowingly won't achieve it, we still work toward that goal. It's a beautiful dichotomy that has to be experienced to be understood.

What does this have to do with music, and more specifically, Orphan Project? Well, perfection may not be possible in this mortal coil, but certainly striving for it sometimes breeds spectacular results. What Orphan Project has done is to take that tendency to shoot for perfection, and achieve balance. Their music is considered "progressive", but don't let that tag be deceiving. It's not the "noodling" that you hear on many a record nowadays that is labeled "progressive". What it is, however, is a balance between all the elements. The right amount of showy musicianship, pop and rock songcraft, vocal prowess and restraint, and lyrical honesty without delving into self-parody. This is the "next best thing" to perfection, and Orphan Project have it down pat.

"Reach" begins with some nice atmospherics, slowly layering in keyboard, piano, drums, bass, and guitar. The intro may seem long to some, but I think it gives enough time to build with that "slow burn" effect, and works quite well. Once the riff kicks in, you're treated to a nice combo of keyboard & guitar with thumping bass and drums. Shane Lankford is in fine form here vocally, and the whole band sounds very tight. I like the wah-wah pedal soaked tremolo picking during the chorus, and the layering of piano and keyboard sounds works well. I also like the "quiet" verse sections with the funky keyboard sounds & heavy bass background, it gives it a nice vibe. Some of the most tasteful solo work can be heard in the song - showy without being a showoff, and melodic but still with a level of technicality. One thing that is apparent in the progression from the band's debut to this album is how overtly catchy their melodies have become. The double-tracked vocals are also nicely harmonized. Great piano outro too, really caps the song off well. "Angel's Desire" appeared on the band's previous EP, and appears to be the same version here. Great intro riff that draws you in, and some nice double-bass drumming helps to set the pace. The start-stop riff dynamic works well in the verse sections, and another harmonized vocal gives the last line of each verse a nice depth. I like the double-tracked harmony vocals in the pre-chorus, and in the chorus as well - very nicely done. Once again, very catchy! The 2nd verse begins with a nice quiet vibe, then builds with some cool keyboard sounds and bass/drums back to the bridge where they bring the heavy again. Awesome solo work around the 3-minute mark helps to keep the pace up, and as before, it shows the talent without being too showy or over the top. "Fallen" has a much different vibe in the opening with it's more modern hard rock type of riff, and rolling keyboard effects. I like the drum groove in the opening as well. Then the song transitions into a more somber, piano-driven rocker with some nice keyboard work & atmospheric elements. The chorus brings the heavy again, and is very anthemic and catchy, and also includes some nice subtle piano work. The bridge is highly melodic, and transitions between choruses seamlessly. "To Me" is a barn-burning rocker with a cool Hammond organ type of underlying vibe, which sounds cool in contrast. Good solo work during the chorus, which is cool to hear, since not a lot of bands employ that kind of solo sections. The organ gives it a Boston-vibe, but the modern hard rock/metal sounds from the guitar, bass, and drums make an interesting combo with that keyboard sound. Loads of great solo work throughout this song, and as with the rest of the material, is very catchy.

"One Dark Moment (Providence)" is a change of pace with a plaintive piano intro, and some tender vocals by Shane. I like the combination of acoustic strumming, and electric picking that presents between verses, and the violin during the 2nd verse is a nice touch. The transition to heavier material is cool, with a ever-so-slightly jarring effect. The chorus has a nice minor chord feeling to it, and a slightly unconventional melody gives it a bit more variety. Realizing Shane is more a barritone than a tenor, he sounds good in the upper barritone, lower tenor range here. Excellent guitar solo that again, is both tastefully showy and melodically interesting. Nice piano outro to the song as well, takes it back down to the somber intro and reprises that briefly. "My Goodness" fades in with a nice keyboard line, subtle guitar and cymbal work, then blows right into a driving riff to lead into the verse. The quite-loud dynamic works well in the verse, even if it's more subtle than some uses. Vocal double-tracking is used in some places and sounds great. I like the tom work during the chorus as opposed to just a bass-snare rhythm; it adds a nice contrast, and variety as well. The faux-violin keyboard sound during the solo adds a nice layer here, and the bridge has more of those nice harmonized double-tracked vocals. Great lyrics in this song as well, talking about the fact that our righteousness is but "filthy rags" to the Lord and that His righteousness is ultimately what we must lean on. Nice slightly symphonic outro as well. "Head On Your Platter" was the song that got me into the album, having heard it first and having spun the track for my radio show a handful of times prior to the album's release. I like the intro with the moody keyboard, clean guitar, and rolling drum line. Then the riff blows in and just takes the song into high gear. Shane's vocals here are a bit more urgent, and really help you to feel the lyrics. I like the background vocals in the chorus, they add a nice touch & give it a bit of the "call and response" feeling. The slightly effected vocal work blends in well with the music, and with the subtle synthesizer work as well. The keyboards in the bridge have a cool vibe to them, and it's interesting to hear in lieu of a guitar solo for this track. This is a very no-nonsense track that really shows the band at their most lean, sparing nary a note or moment. They're making their point quickly, and you better listen! I quite like the frantic keyboard leading up to the end, as well as the ending with the a capella vocal and final guitar crunch.

"Empty Me" has a nice intro with some keyboard effects, rolling piano line, and moody guitar solo. This continues during the verse, which just swells with atmosphere and emotion. Great piano transition between verse and chorus, which really signals the change. I like the riff and drum interplay during the chorus - it's simple, but very effective and catchy. It is soaked in the modern heavy rock tradition but still sounds cool. Bassist Bill Yost provides some nice background vocals in the 2nd verse, and just propels the song along with additional keyboards & more emotion. The subtle guitar lines during the bridge blend well, though still showcasing the talent. The song quiets down for a portion of the chorus repeat, which is a tried and true songwriting convention, and nearly always works well as it does here. Great solo work leading the song to it's outro, with a lot of speedy picking, but making sense all the way through and not being overly showy. The abrupt change to a piano and keyboard outro works nicely, and fades out to silence. "The Battle Rages On" comes next, with a short intro with the "epic" keyboard sound and pounding of drums, keyboard, and guitar that lets you know you're in for an anthem. The riff comes in & provides a bit of a different guitar sound & vibe than has been present so far, and makes for a nice change. The driving riff in the verse sounds great, and the rolling piano line that accompanies the continued riff during the chorus is a nice touch. The subtle keyboard during the verse sections is a nice layer, and the solid drumming propels the song and keeps things moving nicely. The "military" drumming and kids' chorus of "Onward Christian Soldiers" is a cool idea, and works well. I've always wondered what a rousing metal version of that old hymn would sound like, and though we don't quite get that here, it gives a nice picture of what could be. Layering in Shane's lower-register vocals the 2nd time through is a cool effect. Another run through the chorus & an alternate chorus after that helps to round out the song well, and a cool harmonized vocal by Shane takes it nearly to the end. The albums title track, and real centerpiece "Spooning Out the Sea" closes things out. I like the slightly Pink Floyd-esque guitar line in the intro ("Division Bell"-era Floyd, anyway). Shane's vocal has an interesting "tunnel" effect in the first verse portion, and more background vocals from Bill. The chorus has interesting phrasing that doesn't seem to make much sense the first time you hear it, but after a few spins you'll find yourself ostensibly singing along to it. This track has a great sense of dynamics as well, with great drumming that keeps things light when need be, and with more "oomph" when need be as well. Excellent solo work that really makes sense with the music in the background, and doesn't take center-stage too long. Then comes in a heavier chorus section with a keyboard sound I can only describe as "awesome". It sounds VERY much like the keyboard sound Yanni had on his "Optimystique" release from 1984, and having been a long-time fan of that particular album (having spun it many times since my youth), that's a nice personal connection for me. This great keyboard line helps take the song to fade-out, ending the album on a lighter note, but with no less impact.

What can be said? This is one of those releases that strikes that wonderful balance (there's that word again!) between showcasing musicianship and songcraft, so much so, that you nearly forget you're listening to a band that is classified as "progressive". That's a big plus in my book. I'm all for showy musicianship and flashy guitar & keyboard solos (I AM a Dream Theater devotee, after all), but you can't listen to that all the time. It's like having a sundae - sometimes you want to pile on toppings and whipped cream until you can barely stand it. Other times, a simple scoop of ice cream lightly garnished with the essentials, and a few favorite toppings does the trick. That's what we have here - all the hallmarks of great progressive and hard rock, without overcooking the recipe. Hats off to Shane and the gang for coming up with what will likely be the prog album of the year for many, including myself. Essential.

90/100

Bride - Snakes in the Playground (1992)

This is it...the mother lode. Even if you weren't familiar with any Christian hard rock or metal in the early 90's, it's hard to ignore releases like this. Bride made waves in the industry with this hard-hitting record. After moving away from a decidedly 80's American metal sound with the previous record "Kinetic Faith", Bride cranks up the volume on this one to play what could be considered a mix of metal & hard rock sounds. I would equate this record to Guns `n Roses' "Appetite For Destruction" or Skid Row's "Slave to the Grind" both in style & quality. Every track on here is killer, including the couple instrumental interludes and the short bluegrass diversion "Salt River Shuffle" with Greg Martin (legendary bluegrass player). From the anthemic opener "Rattlesnake", to the album's barn burner "Fallout", to the anti-abortion song "Picture Perfect", this album is a winner.

Lyrically, Dale Thompson is in fine form here as well. "Picture Perfect" opens with the line "Coat-hanger alley where the doctors work cheap" - an obvious allusion to the early days of abortions before they were legalized. "Love, Money" talks about gang violence in a very intelligent manner, and "Would You Die For Me" is an interesting look at greed and how it affects us versus sacrifice & the ultimate sacrifice Jesus made for mankind on the cross, without being heavy-handed or overly preachy. Guitarist Troy Thompson is also in fine form here, turning out some tasty riffage, and some nice solos. Troy has never been a power-house soloist; rather, his solos are mostly written to accent the songs. They do that & more here, where all the solos fit very well into the songs.

Bottom line is, if you don't already have this CD in your Christian music collection & you enjoy hard rock in the least, WHAT ARE YOU WAITING FOR? This is probably one of my top 25 all-time favorite Christian rock/metal CDs, & one that I am forever grateful for. As far as I'm aware, the only way to get your hands on this CD (other than buying it used) is to purchase directly from the band (http://www.bridepub.com/brideord.htm). I don't believe the album is in print any more through Star Song, but the band probably has a few copies yet to sell. In any event, PLEASE go to Bride's website & buy it. They have it priced at only $14, which is a good deal for a still-sealed copy of a 15-year old magnum opus that hasn't been in print for a while.

9.5/10