To their credit, MB is still working this fine recording. But I'm afraid it's time to close the book. Ah, but that is not my area. I'm just the reviewer.

I liked this when it came out last summer, and not much has changed. There aren't that many bands doing to classic hard rock thing any more, and Armored Saint was and is one of the best at it. This has lots of great songs and stuff that would have been as at home in 1985 as it is now.

A refreshing blast back to a time when life was a lot simpler (and when I got drunk a lot less often). Play it for old time's sake. Or something.

Remember a time ago when I was rhapsodizing about euro-death bands and saying Florida was a dead scene (but I had to hear the new Atheist before final judgement)?

Well, if you haven't heard by now, the new Atheist proves that there is life after death in Florida. Some very strong riff work on this album, not to mention the "traditional" odd musical construction Atheist always sticks into its songs. Almost jazzy at times.

This is really great. I have been jamming the album on my show since I got it. For the uninitiated: "The Formative Years," "Mother Man" and "And the Psychic Saw."

The 7" would been enough, but I also found a copy of their new album, too. I hope you folks burned that Holiday sampler into the ground, 'cause it's a lot of fun.

And so is the album. The neo-Elvine vocal stylings are choice when juxtaposed with the pop-hard core sound generated by the band (and me using pop simply means these boys have a fine sense of melody and song construction - it's no insult. Bad Religion is pop-hard core, too.).

If tunes like "Passionate Evening," "Vigilante Penetration," "Daddy Lives" and "Black Girls" don't give you that lovin' feelin', then you are one cold bastard. Blast this and be happy.

Nice, fuzzy bass and cool harmonies. Geez, this is a nice band to cuddle up with. And that's not an insult, either. "Wishing Well" is a great song. A little in the pop psychedelic arena, but enough otherwise (hints of country-rock, actually) to warrant notice. Great guitar work.

The flip side is just as nice, with more conventional construction and great delivery. Kate Heim's vocals convey a great range of feeling.

By the way, this is not a band you'd hear on a typical hard rock broadcast, but if you're willing to take a chance, do it. Take notice, folks.

A parting shot with C/Z, this compilation is worth a page two mention, except that most of it is previously released (but rather rare) material.

The quality is first-rate, and if you are one of the few who have not even heard of Coffin Break (shame, shame) pick this or their latest album Crawl (on Epitaph) up and spin through the tunes.

This is a classy tribute to a band who is spiraling up in popularity. Do not miss out (or risk being called a shithead).

The most commercially appealing of the RdB bands, Drop Hammer have put out the best Metallica album I've heard in some time. Oh, not that they're as copy-cat as, say, Cyclone Temple, but at times the resemblance is amazing.

Also amazing is some of the songwriting. "The Sign" is the best classic hard rock tune (i.e. Maiden, Priest, etc.) I've heard in years. This deserves a big budget viddie and lots of airplay. God-damn!

So, to clarify: Drop Hammer. Doesn't always sound sorta like Metallica. Writes some damn fine songs. I will play this soon.

I got into Fates Warning a little late (No Exit), but I've been a fan since. I thought Perfect Symmetry was a little soul-less at times, but they have recovered nicely with Parallels.

Lots of people I've talked to see this album as rather Queensryche-ish. Yeah, this has comparisons to Empire, but Ray Alder and Geoff Tate will always sound somewhat alike, no two ways about it.

Another observation is that "We Only Say Goodbye" has definite Top 40 potential. I hope those stations that are cranking Nirvana to death will have room in their formats to include another band with real instruments. Probably not.

But "Goodbye" is an infectious song and damn good writing. So is the rest of the album. Check it out.

Boy, is it nice to see Seattle bands are finally picking up the tempo. I mean, compared to the Melvins or Unearth (see review), these boys are positively thrash. Now, in the real world, they are merely mid-tempo, but still.

I hope this is a trend. The two songs here are both very good, but I must say I prefer "Big Disease" by a hair. I think it must be the guitar solo. Real lead guitar!! If only the rest of Seattle would wake up to the realities the Accused and others are putting forth. Fireclown is definitely worthy to be mentioned with other "new wave" Seattle bands.

What, another incestual Seattle thing? Yeah, and the press with this says Skin Yard is no more. Now, I realize I live in the sticks and perhaps I didn't pay as close attention to news reports as I should have, but Skin Yard was here at the end of September. Oh well.

Why mention Skin Yard? Well, Gruntruck's vocalist is Ben McMillan, former (?!?) Skin Yard vocalist. And guitars are provided by none other than Tom (Accused) Niemeyer.

The press says this is a departure from the Skin Yard way of life. REALLY???? I don't think so. Now, as I like Skin Yard a lot, this is just fine. But Gruntruck is rather 1000 Smiling Knuckles-ish.

I should mention this was originally released on eMpTy records, before Skin Yard's last album came out. True, 1000 was a step forward for Skin Yard, but I think the step may have actually come here first.

If you don't play reissues that have been through your format already, fine, but do check out the two new songs "Crucifunkin'" and "Flesh Fever," as well as the remix of "Paint." Very nice, indeed.

Another of the fine crop of releases from Red Decibel. There is a cool post-punk thing going on here. Of the three RdB albums, this is the most progressive and potentially the most satisfying over time (tho' I'm still a major fan of Rapscallion, too).

Grooves. Those fill the album. This is music I can dance to. The tempo changes, lots of guitars and cool lyrics. But, see, I'm funny that way.

Songs I like? Well, "Godzilla," "Pissed to Be Alive," "Ghia" and "The Path" all do it for me. But listen to the bastard for yourself. It's worth it.

Yes, the Midwest has struck a blow to the bi-coastal domination of loud music in the past few years, a lot due to labels like Red Decibel. This is good.

My God. My only real taste of Porn Orchard came from their Teriyaki Asthma appearance, so this blew me right away. To tell you they're from Athens says nothing, because these boys rock with the best.
Mind Over Four. Rapscallion. Stuff like that. This is real damn good. No, it's fuckin' great. And there's almost 70 minutes of it! Unbelievable. That's the only way to describe it.

As for the sound, it consists of lots of melodies, all interwoven together. The guitar goes one way, the bass another, vocals another and the drums wandering off into almost jazz territory at times.

Grab a beer (or two or three, given the length), sit down, and listen to this entire disc. No review can do it justice. (Did I mention I liked this album?)

They're back!

After a year-long or so absence from the scene, Red Decibel returns with three new releases. Let's not rehash all the fun of the previous year, but rather exult in what has been brought down from the mountaintop.

Rapscallion, who had RdB's first album release a year and a half ago, comes up with a sophomore effort that says "Fuckit" to their production value, and moves forward stylisitcally.

Oh, except for the listings of the song titles. I figured it out after a listen to the album, but really. We still have DJs who are announcing the first song as "Chameleon drools, drool on me." I know, we breed them big and stupid out here, but still.

Right, back to the album. At times the sound is a little close to Jane's Addiction for my taste, but the grooves are heavier and tastier than any Perry and his boys ever brewed. This is one solid disc. No filler, just bitchen music. Tracks? I'll let you figure out the titles for yourself. But "The Holy Shit" is really cool. Not to mention the rest of the album.

It's a bit of nostalgia for me, but my first contact with Jake came after I reported their first album, Gardens of Machinery , #1 to CMJ. I thought it was cool the head of a label would call me up personally. Of course, I had no idea he was the entire label, but that was back in my naive days. Oh, to remember...

Very strong rhythm section keeps this Seattle outfit together. Short, tight songs on basic themes: poverty, fucking, etc. In order to quell cries of "sexist bastards" I should mention this is an all-female band. And a pretty damn good one, too. Look for a 10" coming out soon on C/Z.

I usually scan the press kit of bands I have never heard of in order to glean an idea of why they exist. Lots of raves on this one, mostly from Seattle publications.

But that makes sense. This is an Endino production, and the sound is another of the heavier-than-God kinda category. But, as another reviewer so aptly noted, the guitars are a wee bit psychedelic, making this a little different than your four guys torturing insects Seattle record. It's fucking loud, that's for sure.