German bashers M.I.GOD. have been kicking around for close to 20 years, releasing albums as time and resources allow, earning themselves a small but respectable following along the way. The international market was never the focus so there was never a serious push in that direction, but after the release of the Floor 29 album in 2012 things went quiet, messing up any forward momentum they may have had. This year the band returned with Specters On Parade, an album unlike anything in the M.I.GOD. catalogue. Meant as a concept record, reviews have been all over the map, with one reviewer going so far as to simply call the album “shit.” The band good-naturedly shared said small-minded review via social media, knowing full well that no matter how poorly some people react to Specters On Parade, it is most certainly not the slab of crap they would have you believe.
In actual fact, Specters On Parade is the best album M.I.GOD. has released to date and it’s worthy of international attention.
Vocalist / founder Max Chemnitz discussed the new prog-metal monster a few days after a harrowing live experience – “all kinds of technical problems, I couldn’t hear anything” – that turned out far better than anticipated, with the crowd chanting “M.I.GOD.” at the end of the band’s set.
“Some of the reviews for Specters On Parade, you can tell that the people are just listening to the music because they are curious about what we’re doing, and after that first listen they wrote the review,” says Chemnitz. “There are some journalists that say the album is good, the parts are well played and all that, but they didn’t get the concept, they didn’t get what we intended to do.”
Continue reading M.I.GOD. – Crossing The Threshold
By Carl Begai
Germany’s M.I.GOD. have been kicking around since 2001, having released a handful of albums worthy of their small and loyal following, but nothing to make the jaded journalist stand up and take note for more than a few heartbeats. Until now. Specters On Parade is not only the best album of their career – their first since 2012 – it’s one of those records where people in-the-know wonder why in the hell M.I.GOD. hasn’t been picked up by a big label and put on a well-deserved promo pedestal.
Specters On Parade is a bold concept album featuring 20 tracks – ten full songs separated by brief soundscapes – that focuses on the protagonist’s internal battle with his mind. Heavy, melodic and dark, vocalist Max Chemnitz proves to be remarkably versatile with his mid-range, which is two steps shy of being one of those smoky goth voices yet all metal right up to hitting the highs, and using death metal growls as a nuance rather than part of the big picture (brilliant decision). Likewise, guitarists Uli Holzermer and Dan Hess shine from beginning to end, whether it’s charging in as riff monsters, playing it soft, or soundtrack atmospheric. Guitar riffs and tones range anywhere from Queensryche to Dream Theater to Devin Townsend to Static X depending on the song, and it has to be said that drummer Eric Wunderlich stands out in a very Portnoy / Rockenfield way, providing a solid metal backbone without being overbearing. Continue reading M.I.GOD. – Specters On Parade
By Carl Begai
In the interest of not boring the veteran Queensrÿche faithful to tears we’ll skip rehashing the episodes of Tate Hate that led to the band splintering in 2012. If you’re a new fan all you need to know is vocalist Todd La Torre replaced original Queensrÿche singer Geoff Tate after 12 albums due to some brutal personal and creative differences, and both sides are better for the change. In Queensrÿche’s case – featuring La Torre, original members Michael Wilton, Scott Rockenfield, Eddie Jackson, and Parker Lundgren – it meant returning to the signature sound of the band’s early years, which has given Queensrÿche a completely – and if we’re being honest, unexpected – new lease on life. Sure, some fans have been loud in their disapproval of La Torre taking over Tate’s post, but the live shows have succeeded in changing some narrow minds.
“It’s a new energy, man, a rebirth of the band,” says Wilton. “Like you said, it’s a shame there are some people that are complaining, but it’s just one show at a time and we’re going to have to convince people that way. We’ve been doing that for the last two-and-a-half years and it’s gotten to the point, at least in Europe and the UK, they know and remember who Queensrÿche is. We just have to prove ourselves to the rest of the world.”
“We played a good variety of shows this summer; some key festivals, the main one being Wacken, which Queensrÿche has never performed at. It was great except for the mud (laughs). Being able to do our own shows and teaming up with Dream Theater again, it was amazing. It’s been a long time since we toured with them and it was a rekindled friendship. James LaBrie was so positive with Todd, letting him know that he’s just killing it, and John Petrucci wants us to do some shows together in the States next year. And then teaming up with Armored Saint and Death Angel in the UK, it was a great variety. The show in London was just amazing because both bands were there and the fans were just blown away.”
“It’s been almost three years with Todd and his confidence level is very strong. His voice is getting stronger from all the touring we’re doing, and he’s so comfortable with the old Queensryche songs it’s unbelievable. He’s grown as an individual and he’s such a team player for Queensrÿche; the fans love him.” Continue reading BraveWords Interview: QUEENSRŸCHE – (R)Evolution Calling
By Carl Begai
At this point, Queensrÿche fans and anyone who reads metal news feeds are aware of the controversial split between original vocalist Geoff Tate and the rest of the band. It’s an ugly break-up that will see both parties in court as of January 2014 to decide who gets to use the Queensrÿche name, with the fanbase taking sides and being quite vocal about who they think is the real deal. For the old schoolers that grew up with the band’s debut EP and first four studio albums (The Warning, Rage For Order, Operation: Mindcrime, Empire) it’s a no-brainer in picking the non-Tate version of the band – now fronted by former Crimson Glory frontman Todd La Torre – thanks to their new self-titled record. It’s the album fans who have held out for 20+ years have been waiting for.
“We just did what we felt,” says La Torre, “and the fact it’s been received so well makes it that much better.”
The album is short and sweet, clocking in at 35 minutes, which no doubt helps as well. Rather than pounding people into submission with their new / old direction, Queensrÿche chose instead to give folks just enought of a taste of the band’s rediscovered potential.
“We didn’t even know what the length of the album was until it was done,” La Torre admits. “We just liked what we had and said ‘Okay, that’s the album.’ We had other songs that didn’t make the record, but we decided to put the album out and leave the fans wanting more.”
They won’t have to wait too long if all goes according to plan. La Torre and his bandmates have every intention of using the momentum the new album has provided…
“We’re writing new songs for the next album now. We’ve got a handful of songs in various stages and its going to have a multitude of elements that are Queensrÿche. You’re going to have longer songs, heavier songs, softer songs, maybe something acoustic. We’re not boxed into any niche which is the beauty of what Queensrÿche has always been. Continue reading TODD LA TORRE – Let’s Get ‘Rÿched
By Carl Begai
Twenty years is a long time to wait for a band to get its collective shit together. Funny how one ugly line-up change and nine new songs can wash away two decades’ worth of mind-numbing WTF frustration.
Gone is original vocalist Geoff Tate, and with him the fetters that seemingly/supposedly steered the band into realms they were better off not exploring if you grew up/into Queensrÿche’s debut EP and the four albums that followed (The Warning, Rage For Order, Operation: Mindcrime and Empire). Recharged with the entrance of ex-Crimson Glory singer Todd La Torre, the band was able to get back to doing what they do best, and the surprising end result is a record that falls nicely in line with the aforementioned 4.5 ‘Ryche classics. Call it Rage For Order meets Empire; an obnoxious claim to be sure, feel free to disagree, but it’s pretty damn hard to refute. Continue reading QUEENSRŸCHE – New Album Review: “A Slab Of Faith-Restoring Metal”
Having established themselves as something pretty damn close to unique with their classic self-titled EP and weirdo cold progressive follow-up, The Warning, Queensrÿche blindsided pretty much everyone with Rage For Order. The goth-glam promo pictures did a decent job of scaring the shit out of the people who cared, first single / video ‘Gonna Get Close To You’ finished the job with its brooding Depeche Mode-metal vibe. Most folks outside Canada didn’t realize the song was a cover, Canuck metalheads (myself especially) couldn’t believe one of their own would cover Lisa Dalbello, but it had the desired effect. I, like so many others that had dismissed Queensrÿche as being too over-the-top for their own good, weighed hype against weirdness and took a chance on the album, and was pleasantly surprised. Continue reading QUEENSRŸCHE – Rage For Order (1986)