Manic Eden - Manic Eden: 30th Anniversary Remaster (Music Theories Recordings) [Rich Piva]
When David Coverdale put Whitesnake on ice for a bit in the early 90s, the musical backbone the band, Adrian Vandenberg, Rudy Sarzo, and Tommy Aldridge did not want to sit still and rest on their Whitesnake laurels, so instead they formed the one of and pretty much lost over the decades project Manic Eden, that is becoming found again in the form of a 30th anniversary repress/remaster.
This album, while excellent, was met with a resounding level of indifference, as this type of rock was just not the thing in 1994. But how could something with those guys involved not be great?Well, the answer is it is great no matter how ignored at was at the time, which makes this repress essential, given how this form of heavy rock with blues influence is really back and stronger than ever.
The addition of Little Caesar vocalist Ron Young’s soulful voice was perfect for this project, with songs like When The Hammer Comes Down that has some AC/DC vibes to it and the opener Can You Feel It that has a killer Vandenberg bluesy riff. Gimme A Shot and Pushing Me are excellent hard rock tracks that have no business being forgotten.
The entire record is expertly played (of course) and it is a really fun listen for folks who dig the players but did not realize this record even existed. Yeah, a couple of the mandatory ballads I can take or leave, but overall, there is not a real stinker on the record.
If you dig any of the bands these guys are a part of then you should enjoy Manic Eden. The remaster sounds excellent and the packaging makes this whole offering a must have for fans of the players involved. This record was just born too late or it would be in the same discussion of all of the hard rock with a bluesy slant that sold million of copies just a few years before. Don’t miss out on Manic Eden this time around. 8/10
Balance Of Power – Fresh From The Abyss (Massacre Records) [Matt Bladen]
Balance Of Power have been in the UK rock/metal scene since the 90’s but 20 years since their last album they return with a revamped line up and a new record their sixth studio release. Starting out as mote of an AOR band they quickly evolved into a progressive metal band. Their hiatus came after multiple line up changes and moving on to other projects, but founding members Tony Ritchie (bass) and Lionel Hicks (drums) continued to write, this album written before, during and after the pandemic.
They wanted an organic approach to what is a dark record where they stay proggy but streamline their music a bit more with melodies and shorted runtimes for a more anthemic sound, leaning back on their earlier sound but also the likes of Queensryche, Threshold and Pyramaze). The recruitment of Hazel Jade as a singer is a masterstroke as her husky, soulful vocal fits the heavier moments such as Rage Of Ages and Monster, making it a perfect fit for a band who share their sound with acts that have a lower register singer such as Symphony X.
Alongside Jade, two new guitarists Chris Masimore and Stoney Wagner lay down the riffs on this album but have been replaced by Chris Young and Adam Wardle going forward. As I said there’s prog metal and melodic rock on this album, the production from Hicks and Toby Jepson making sure that it stays true to the Balance Of Power sound of yore as mixer Sam Low/remixer Mike Plotnikoff have made sure that the founder members rhythm section can be heard.
The keys/synths are used deftly, underscoring the guitars, the songs dealing with existentialist ideas on living and dying with personal reflection, the musical queues coming from the bands I’ve already mentioned, though Deadlands has a similarity to Sabbath’s Neon Knights, with more than a few Dio touches that come on Fresh From The Abyss. Balance Of Power have been revived and for the better, let’s hope another album doesn’t take 20 years! 8/10
Heavy Temple - Garden Of Heathens (Majestic Mountain Records) [Matt Bladen]
The trio of High Priestess Nighthawk (vocals/bass), Lord Paisley (guitar) and Baron Lycan (drums), returns with another visit to their Heavy Temple. Following up their debut album Lupi Amoris, the Philly based band have expanded their minds and embraced a heavier, more natural direction in their sound. Major support slots to The Obsessed and Howling Giant, along with relentless touring has made this trio a well-oiled desert psych, stoner doom machine owing as much for The Beatles as they do Black Sabbath, putting cosmic exploration along with terrestrial, organic riffage.
Heavy Temple - Garden Of Heathens (Majestic Mountain Records) [Matt Bladen]
The trio of High Priestess Nighthawk (vocals/bass), Lord Paisley (guitar) and Baron Lycan (drums), returns with another visit to their Heavy Temple. Following up their debut album Lupi Amoris, the Philly based band have expanded their minds and embraced a heavier, more natural direction in their sound. Major support slots to The Obsessed and Howling Giant, along with relentless touring has made this trio a well-oiled desert psych, stoner doom machine owing as much for The Beatles as they do Black Sabbath, putting cosmic exploration along with terrestrial, organic riffage.
Its driving stoner rock, heavied up with doom fuzz and brief salutations to psychedelic dreamscapes, and also some cello from John Forrestal on the trippy title track, making for an audio journey bound to appeal to riff worshippers. The lyrics drawn from an uneasy feeling with the state of things, doubts creep in from below happy veneers, they're personal and as such are delivered with the right amount of venom and trepidation, through wailing, wide eyed vocals.
Sabbath worship bleeds into AIC thrum on the first track Extreme Indifference To Life, while Hiareth charges ahead with garage rock directness, it’s Divine Indiscretion that offers the influences of Fu Manchu that seem to be associated with Heavy Temple. Lord Paisley’s guitar work is drenched in feedback and fuzz as the occult vibes on House Of Warship loom large, Baron Lycan’s drums unfolding into a double kick as the bass of the High Priestess rudder this haunted vessel, keeping it steady on Snake Oil (and Other Remedies) which bleeds gothic Type O Negative meets Candlemass energy.
There’s a lot of noise here for a three piece, a much more diverse set of songs than their debut but with that energy and passion that made it great, occult tinged, stoner and doom influences with added angular alt metal of Smashing Pumpkins et al on Jesus Wept and a classic/thrash metal assault on Psychomanteum, there’s a real breadth to this record. In this temple selling is allowed, so long as they’re riffs! 9/10
Red Mesa - Partial Distortions (Desert Records) [Rich Piva]
Albuquerque, New Mexico’s Red Mesa are back with a new record, Partial Distortions, and are they bringing the heavy on this one. When I think of Red Mesa, I think desert for many reasons, including the record label they are on (and own), Desert Records, where they are from, and where musically they have always leaned. On Partial Distortions, you get way more of a doom in the desert feel, with six, heavy, labouring (in a good way) tracks that try to bury you in the sand rather than drive you across the dunes to a freak out party.
Two of the three opening tracks of the record, Óðr and Dying In The Cold Sun are heavy, slower atmospheric doom with both clean and growling vocals that just pummel you but still remain beautiful at the same time, which is quite the feat. The fuzzy heaviness of the band is something to behold on these two tracks. The Assertion is just next level awesome from the band. This may be my favourite Red Mesa track so far, with elements of doom, psych, and desert all throw into one heavy mix. Were the lyrics influenced by the Barry Manilow song? Do you think the guys in Red Mesa know the song I am referencing? Either way this one is killer.
Albuquerque, New Mexico’s Red Mesa are back with a new record, Partial Distortions, and are they bringing the heavy on this one. When I think of Red Mesa, I think desert for many reasons, including the record label they are on (and own), Desert Records, where they are from, and where musically they have always leaned. On Partial Distortions, you get way more of a doom in the desert feel, with six, heavy, labouring (in a good way) tracks that try to bury you in the sand rather than drive you across the dunes to a freak out party.
Two of the three opening tracks of the record, Óðr and Dying In The Cold Sun are heavy, slower atmospheric doom with both clean and growling vocals that just pummel you but still remain beautiful at the same time, which is quite the feat. The fuzzy heaviness of the band is something to behold on these two tracks. The Assertion is just next level awesome from the band. This may be my favourite Red Mesa track so far, with elements of doom, psych, and desert all throw into one heavy mix. Were the lyrics influenced by the Barry Manilow song? Do you think the guys in Red Mesa know the song I am referencing? Either way this one is killer.
You get a bit more straight-ahead stoner/desert rock (I said a bit more, not a lot) with 12 Volt Shaman, that also has elements of sludge to it, but when the psych swirling guitars kick in you can’t help to be transformed to the deserts of New Mexico. Desert March opens up exactly how you would think it would sound given the title but then you get the riffs and you know that this instrumental fits perfectly into the mix of Partial Distortions, especially as it seamlessly leads us into Witching Hour, a complex, desert doom combo that is heavy, sometimes sludgy, and all the time killer.
The new Red Mesa album is the most complex and complete recording of the band’s great career. Partial Distortions is next level stuff from an already great band that should expect big things in 2024 on the back of this release. 8/10
The new Red Mesa album is the most complex and complete recording of the band’s great career. Partial Distortions is next level stuff from an already great band that should expect big things in 2024 on the back of this release. 8/10
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