Slash: "Apocalyptic Love" Review

After making music in whatever project he happened to be in for the past 25 years, it seems Slash can do no wrong. Well, except for maybe Slash's Snakepit. Regardless, the man still knows how to write some great rock tunes after all these years. His 2010 self titled debut was one of my favorite albums of that year, and the inclusion of guest vocalists gave the record a nice variety. This time, former G'N'R/Velvet Revolver guitarist has teamed up with Alter Bridge singer Myles Kennedy (who sang two songs on Slash) to deliver the follow up. Apocalyptic Love, with a title so stupid only Ted Nugent would find cool, is proof that no matter who he decides to play with, Slash is capable of putting out great records that capture the sound the man is famous for.

The album begins with the title track that makes good use of some Wah. Slash is certainly no stranger to the Wah pedal, and here it is used effectively. Unfortunately this is the first and last time you will be hearing it on the record. Things pick up with "One Last Thrill" which features one of the first examples of Slash's soloing prowess. "Standing in the Sun's" main riff sounds almost like an homage to "Train Kept a Rollin", and the single "You're a Lie" contains a powerful chorus with an otherwise generic riff and uninspired verses. This is followed by the slightly boring "No More Heroes" as well as "Halo" which comes across as goofy with its chorus, making up the album's low point.

Despite the middle slightly lacking in quality, Apocalyptic Love is a rare case in that it gets BETTER towards the back half. "We Will Roam's" chorus is incredibly catchy, making it one of the most memorable songs. My favorite track, "Anastasia", is the most unique, adding some variety that I wish was present on the rest of the album. Opening with a classical guitar arrangement, the main riff show's Slash's appreciation for Bach's Toccata and Fugue in D Minor, making this the most standout track. Myles' vocal melodies also work very well here, and Slash delivers his best solo in years. This song makes me wish there were more unique tracks like this on the rest of the record. The ballad "Not for Me" immediately follows, with lyrics dealing with past drug addictions that were most likely inspired by Myles Kennedy's former demons. Another highlight is "Black Rain", featuring a dark riff that compliments the chorus nicely.

As I mentioned earlier, Slash's solos are some of his best to appear on a record in years. Not all of his riffs are amazing (Izzy wrote most of the riffs in Guns anyway), but he more than makes up for it in his soloing, prime examples being "Anastasia" and "One Last Thrill". His signature blues inspired rock style is also present, making him sound instantly recognizable. Myles Kennedy is a perfect fit, at times reaching Axl Rose-esque highs. His vocal melodies and energy makes him the best singer Slash has worked with since the G'N'R days. The rest of the band (known collectively as Myles Kennedy and the Conspirators) do a decent job, although if you are listening to a Slash solo album, you probably don't care about the bass and drums that much.

It may be bit a bit inconsistent at times, but Apocalyptic Love is a great rock album that proves Slash still has what it takes after all of these years. His inclusion of Myles Kennedy is a welcome addition, and the work they put in together certainly paid off. Tracks like "Anastasia" and "Bad Rain" make the album worth a listen alone. There isn't a bad song on here with the low points being O.K. at worst, making Apocalyptic Love a solid record all around.  As we wait for what the future of Velvet Revolver holds, people shouldn't be complaining too much that we are still getting awesome music from one of rock's greatest guitarists.

Music Video Monday: 5/27/12

Before Dire Straits demanded their MTV in the groundbreaking music video for "Money Ain't For Nothing", music videos relied more on practical effects and fancy camera work than digital imaging. Still, that's no excuse for the so-called "effects" in this Accept's video. A word of warning: don't watch this video if you are in an intoxicated state. Then again, if you're drunk while reading this, you might want to reevaluate how you spend your Monday afternoons.

The opening shot gives us a nice panoramic view of guitarist Wolf Hoffman, since up to this point the world had been speculating what the man's backside really looked like. This is actually a pretty neat effect...the first time. Apparently the band REALLY liked spinning the camera all willy-nilly since they decide to do it EVERY 5 SECONDS! Remember what I said last week about Firewind's effects being distracting? At least their video didn't make me feel nauseous at any point.

Of course, one cannot ignore the modern art masterpiece that is singer Udo Dirkschneider, who looks like a cross between Tyrion Lannister and Gollum. As if the video wasn't already a major eyesore, we are forced to stare at the ugliest man in metal next to Otep Shamaya. And as we all know, with great ugliness comes great responsibility to make one's voice sound as unattractive as their face, as exemplified by Lemmy. Udo succeeds in both looking and sounding like a troll, guaranteeing him fewer groupies than the bassist of any Black Metal band.

Aerosmith Album Title Revealed, New Song Available For Streaming

From a dimension unknown comes a group of aging rockers trying to stay relevant. Oh, the horrors!

At long last, the upcoming Aerosmith album that has been in the works for a while now finally has a title and release date. Music From Another Dimension will be released on August 28, marking the first album from the Bad Boys from Boston in 8 years. The single, "Legendary Child", is also floating around after the Soundcloud file I was going to embed originally mysteriously vanished, so I'll just post a Youtube stream.

The song is a reworked version of an outtake the band wrote in 1991 during the Get a Grip sessions, and it shows. The main riff has an "Eat the Rich" quality to it while also borrowing some influences from the '70's era of Aerosmith. While its not the worst song (hell, its not even the worst Aerosmith song!), I can't exactly say I'm thrilled with it. Granted, I wasn't exactly jumping out of my chair in anticipation for a new Aerosmith record since I think the band went creatively bankrupt years ago. The main problem I have is that Steven Tyler sounds tired and frail. If his abominable rendition of the nation anthem was any indication, the Demon of Screamin is well past his prime. Still, that doesn't mean the rest of the album is completely doomed, despite me not having the highest of hopes.

"Legendary Child" will also be featured in GI Joe: Relation, since having a song in a movie with Bruce Willis worked out for them pretty well the first time.

Music Video Monday: 5/21/12

Greetings, duders and dudettes! In celebration of Firewind's latest album, Few Against Many, releasing this week, I decided to "honor" the band by sharing the music video from their last album. You thought Hammerfall had a bad CG department? Wait until you see the MS Paint job Firewind calls effects!

We're greeted with a saucy young lad with the hair of a Targaryen when we see the band performing on what appears to be the floating islands from Avatar, except in this version the humans actually succeeded in destroying everything. One thing this video could have benefited from that Avatar got right is good looking CG.  I guess the economic problems in Greece are worse than I thought if the animators are forced to use built-in software with Windows.

It appears the band decided to go with quantity over quality with the sheer amount of fire and flames present, although apparently no amount of heat can melt the clearly snow covered mountains in the foreground. Seriously though, having flames going off at the bottom of the screen at all times is actually hurting my eyes. Thankfully, I'm able to avert my eyes before they start to bleed when Gus G. begins shredding away as he's out to do, along with the always amazing keyboard solo. The video also ends strong with a marching drum beat and an incredibly evil riff that fades out while an army of Tuskan raiders watch on the other side.

3 Inches of Blood: "Long Live Heavy Metal" Review

Combining elements of power and thrash metal with traditional NWOBHM influences, Canadian powerhouse 3 Inches of Blood have delivered another quality product. Long Live Heavy Metal is a lot of fun while maintaining an ample supply of heaviness. With that heaviness is a sense of melody that has given the band a distinct sound. This is partly due to vocalist Cam Pipe's insanely high range, matching the likes of King Diamond many times. While not taking itself entirely seriously throughout, Long Live Heavy Metal is a great piece of metal that can be enjoyed by just about anyone.

Opening with a triumphant harmony signifying the band marching into battle, "Metal Woman" builds up with a driving bass line and explodes into a brutal assault that praises the female made of malleable substance. "My Sword Will Not Sleep" follows it up by creating heavy yet melodic riffs that tell the tale of killing for revenge, while "Leather Lord" strips things back a bit and relies more on grinding chord progressions. Things start to chill out with the acoustic instrumental "Chief and The Blade", containing elements of folk. This sound is explored again with "One For The Ditch", serving as the closing track.

The rest of the songs contribute to the overall quality of this love letter to all things metal. Tracks such as "Dark Messenger" and "Leave It On The Ice" are standouts, the latter of which I hope is played during all future hockey games. The main thing this album has going for it is Camp Pipe's soaring voice, combined with excellent guitar work. Some of the riffs seem a bit less complex compared to the band's previous releases, but that does not mean they are any less heavy or worthy of metal appraisal . Speaking of previous releases, "Die For Gold (Upon The Boiling Sea IV)" continues the story of the pirate trilogy from Advance and Vanquish, which I recommend you all listen to.

3 Inches of Blood further reinforce their love of metal with Long Live Heavy Metal without apologizing for it. After releasing a decent EP last year with Anthems For The Victorious (despite only containing two songs), this album delivers on the promises made from the previous release, as well as their past records. Heavy riffs along with melodic guitar work and glass-shattering vocals help keep 3 Inches of Blood's sound alive and well. Long Live Heavy Metal is an all around feel-good album that is fun to listen to while still being fast and loud. The band isn't exactly reinventing the wheel with itself, but the wheel is turning as strong it ever was.

Music Video Monday: 5/14/12

Along with fuel-efficient cars and spiky-haired video game protagonists, one of Japan's biggest contributions to the world is the band Loudness, or as they call them, Loudness. You thought I was going to make a racist joke there, didn't you? For shame!

Honestly, this video isn't really all that special. It's the lyrics that make these guys stand out as true wordsmiths. The band's grasp of the Engrish language is unparalleled, seamlessly conveying the fact that if you "come to see the show", they are going to "rock and shock you", and that you should "come and get on your seat". Just watch out after the "best kicks you in the head" and the "sound hits you in the face". You might not want to be standing on top of a seat for that part. Also, beware when the band tries to "rock and pile you". I hope they don't mean what I think they do by "pile you". Finally, the triumphant chorus reinforces that we are all, in fact, "the heroes tonight". Thank you, Loudness, for putting us up there with the greats for listening to a stupid rock song. I look forward to drinking in the halls of Valhalla once I have ascended into Asgard.

This video also reminds us of some of life's greatest mysteries. Why are we here? What happens when we die? How many licks DOES it take to get to the center of a Tootsie Pop? And, most importantly, what the hell does "MZA" stand for!? Multiple Zebra Attacks? Marinated Zesty Asparagus? Mostly Zoologist Attendees!? The world may never know.

Ozzy Osbourne & Friends To Play European Dates

Ozzy and Friends will be there for you.

As most of you know, the Black Sabbath reunion isn't going exactly as planned. Still, it's a good thing that its happening at all in some capacity. Despite not being able to fulfill their promise of a full European tour this summer due to Tony Iommi's health, the band will still perform at festivals as well as a one-off date in Birmingham (which sold out in less than 10 minutes).

In order to make up for the missed dates, Ozzy Osbourne will be touring with "special guest" musicians which will be billed as "Ozzy Osbourne & Friends". Among these special guests will be Geezer Butler, Zakk Wylde, and Slash, along with the rest of Ozzy's touring band. Zakk Wylde explained how the setlist would work in an interview with The Nervous Breakdown:

"[Current Ozzy bandmembers] Gus G., Blasko and Tommy [Clufetos] are coming out and doing a bunch of tunes, then I come out with Blasko andTommy and we end up doing a bunch of stuff from the era when I was with The Boss, from 'No Rest For The Wicked' all the way through everything I've ever done with him. Then Geezer [Butler, BLACK SABBATH bassist] comes out and we do a bunch of SABBATH stuff and at the end, Slash and everybody — Geezer, Slash, Gus — and we all play 'Paranoid'."

Again, while this isn't a full Black Sabbath reunion tour, its better than nothing. With Tony's illness and Bill Ward's commitment still unknown, we pretty much have to take what we can get. Hopefully the "Ozzy Osbourne & Friends" will find its way over to America, which seems like a no-brainier. In the meantime, here are the European dates:

May 23 - Helsinki, Finland - Hartwall Arena
May 25 - Stockholm, Sweden - Stadium
May 27 - Jelling, Denmark - Jelling Festival
May 29 - Bergen, Norway - Bergen Calling Festival
May 31 - Oslo, Norway - Spektrum
Jun. 02 - Malmo, Sweden - Malmo Stadium
Jun. 04 - Dortmund, Germany - Westfalenhalle
Jun. 06 - Prague, Czech Republic - O2 Arena
Jun. 15 - Vitoria, Spain - Azkena Rock Festival
Jun. 17 - Clisson, France - Hellfest
Jun. 22 - Dessel, Belgium - Graspop Metal Meeting
Jun. 24 - Milan, Italy - Gods of Metal Festival
Jun. 26 - Vienna, Austria - Stadthalle
Jun. 28 - Belgrade, Serbia - USCE Park
Jul. 01 - Athens, Greece - Rockwave Festival – Terra

Manowar to Unleash "Lords of Steel" in June

Yup. Still metal.

The long-in-production follow up to 2007's Gods of War is finally coming out! After being previously titled Hammer of the Gods, the new album is called Lords of Steel and will be released on June 16 worldwide exclusively through iTunes and the band's webstore, The Kingdom of Steel. One of the tracks, "El Gringo", will be the theme song for the movie El Gringo. Coincidence? Or clever marketing decision? You decide!

While I'm interested in hearing new Manowar music in 2012, I think they could have done a better job with distributing the album. If I were them, I would have it where you put your home address into their mailing list and a man with unrealistic muscles riding on a horse gives you the album while carrying an American flag. Either that, or they could at least let me buy the digital version through Amazon.

Music Video Monday: 5/7/12

I've talked about Hammerfall in the past, so I'll just say that they are one of my more favorite Swedish power metal bands. This is also one of my favorite songs by them, so it was only a matter of time before the accompanying video came up in the rotation. Lets not waste any more time here!

Right off the bat, I have to wonder if this song was in any way inspired by the Rocky IV montage theme of the same name*. Even the "burning with desire" line is eerily reminiscent. Anyway, we see our heroes enter a random field where they stumble upon a book which already contradicts the first line in the song, "We saw the writings on the wall". I guess they figured it sounded better than "We saw the writings in the book that mysteriously popped out of the ground while we were strolling through a field full of bad CG". Speaking of bad CG, 1997 called, and they want their computer animators back.

Following Symphony X's video from two weeks ago, it seems that Hammerfall have at least one of the ingredients that make up any good metal video, lightning storms. However, I think they half-assed the rest of the effects. Where are the volcanoes? Why isn't the world about to destroy itself? Where are the unnecessary background battles? It looked like the skeletons were preparing for some kind of fight, but they were destroyed at the end in an extremely anti-climatic explosion. Come on, guys! Don't let a bunch of Americans out cheese you!

Bonus Video: Because you all demanded it, here's the Swedish Women's Olympic Curling Team version

*After further research, the title and lyrics are in reference to the poem Der heimliche Aufmarsch by Erich Weinert.

Random Review: Iron Maiden- "The Final Frontier"

Hey y'all! It's time for another review apropos of nothing! This time, my good friend Alex will be giving you the run down on the most recent Iron Maiden album. It's his first time, so please be gentle:

**I know that this album came out two years ago, but I actually wrote this review when it came out for a class and would like to share it. Have fun reading and UP THE IRONS!!!!!**

This summer, Iron Maiden released The Final Frontier, ending the four year wait since their last album, A Matter of Life and Death. One of my all-time favorites and a perfect 10, A Matter of Life and Death had everything needed for perfection with strong opening and closing tracks, no filler, and a consistent personality that may not be expressed in words, but pervades every recess of the album. I was expecting a clone of this album, but instead got an album unique in its own right that was still satisfying. Before starting, I must acknowledge that this album is not for the weak-hearted. It needs multiple listens to fully appreciate. Its songs are deep, complex, and experimental, something the average fan may be too thick to grasp. However, The Final Frontier does have strong songs throughout, with a consistent theme of bittersweet adventure and a lot of musical experimentation. For those willing to put in the time, this album is well worth it.

The opening song, “Satellite 15… The Final Frontier,” is actually two songs in one. “Satellite 15” is a confusing piece meant to sound like the chaos of space complete with the pings of solar radiation and the thundering of meteorites. From the start, Maiden establishes that this album is not going to be their usual work. The track abruptly segues into its second movement, “The Final Frontier,” a standard rock track that combines silken melodies with colossal riffs that make the lyrics stand out more. The best part of the song is the chorus, which is haunting but so catchy that my mind won’t stop replaying it. The tortured vocals work well in describing the thoughts of a man coming to terms with his own imminent death: a cathartic preview of things to come on the album. My one complaint is that the chaotic part lasts too long and uses up a lot of time that could have been added later on as a change-of-pace breakdown. Overall however, the title track is an excellent opener that sets the tone for the rest of the album with its experimental aspects and theme of happiness going hand-in-hand with anguish.

In terms of overall quality, this album gets high marks, but is not perfect. It mostly has strong songs like “El Dorado,” a dark number about the current financial crisis. Its juxtaposition of a heavy verse and melodic chorus highlight the true feelings of the Wall Street crooks with their promises. “Coming Home” and “The Talisman” are songs that personify the album’s theme of joy being inseparable from anguish. “Coming Home” is a quasi-ballad with riffs and solos just heavy enough to make it acceptable for a Maiden tune. The chorus (the absolute best on the album) is a great anthem that is both triumphant and melancholy. Another fantastic piece is “The Talisman,”which details a perilous ocean voyage to a “golden promised land.” This song really moves, even getting into a gallop during the bridge that gets me energized like I stuck my tongue in a light socket. The final bridge describes the death of the protagonist after he survived the entire journey; a depressing end that is highlighted more so by its vigorous delivery.

Unfortunately, the quality of some songs is not up to par with the excellence of the others. “Mother of Mercy” starts off with an incredible verse that is almost wasted by the chorus. Bruce’s voice strains at the high notes and he sounds out of breath at times. It is disappointing that such a promising song can be brought down by such a bad chorus. “Isle of Avalon,” an overly-long 9 minute track is yet another underachiever. It takes way too long to build and many parts seem unnecessary. These flaws do not ruin the song entirely, however, and I will credit the band for going all-out experimentally on this number. Its psychedelic breakdown and textured, symphony-like sound salvage it to a point, making the song fit in perfectly with the rest of the album. Though the album has some weaker songs, its consistent feel and personality make up for it.

While not a concept album, The Final Frontier is characterized by a theme of optimism coupled with despair to produce a cathartic effect, and musical experimentation. The excitement of adventure is palpable in songs like the title track, “Coming Home,” and “The Talisman”, but is always bittersweet, as if happiness always comes conjoined to its evil twin, sorrow. Catharsis can be felt through many songs on this album; the main character dies in three separate songs, and religious faith is questioned in another three. Maiden save their most cathartic efforts for last with the final two numbers being about a man coming to terms with a murder he committed (“The Man Who Would Be King”) and an impending nuclear disaster (When the Wild Wind Blows”), respectively. The level of musical experimentation on The Final Frontier surpasses anything Iron Maiden has ever tried by light-years. The band has never attempted anything like the chaos of “Satellite 15” before and the psychedelic sections of “Isle of Avalon” and “Starblind”. The latter sound like something a space-faring civilization of the future would listen to.

The last song on this album is Iron Maiden at their absolute best. An epic song by any definition, “While the Wild Wind Blows” is awe-inspiring. Its opening line, “Have you heard what they said on the news today?” is eerily reminiscent of “A Day in the Life” and the song fully lives up to its legendary predecessor. Its melancholy lyrics are enhanced by changes in dynamics and tempo that have a profound effect on me. I get chills when I listen to it. If people could overdose on epic-ness, this song would be banned. This is one of Iron Maiden’s all-time greatest songs and anybody who says differently should drink sour milk because he doesn’t have taste anyway. It’s a truly great pick to close out the album. The Final Frontier, while it may not Iron Maiden's best, is still excellent and gets better with every listen.