Helloween is one of the building blocks of my metal persona, and my permanent residency in the pumpkin patch truly started with “Save Us”. I have no idea why I missed out on Keeper Of The Seven Keys: Part I, released in 1987 – because this love affair would have begun a year earlier – but I suspect it had to do with many (not all) European metal artists having limited exposure on the Canadian market if a major league label wasn’t involved. In any case, mega-hit “I Want Out” was making the rounds on Toronto’s / Canada’s video channels and pushed me to buy the album, but when Side 2 of the cassette I’d purchased for my car kicked in I was floored. “Eagle Fly Free” and “Dr. Stein” had impressed me, “I Want Out” was a no-brainer, but “Save Us”…. it grabbed me by the balls and wouldn’t let go.
The guitar shred was over the top – making me a Kai Hansen fan for life – and as a huge Queensrÿche fan who worshipped Geoff Tate as a vocal god thanks to Rage For Order and Operation: Mindcrime, hearing Michael Kiske storm in and lay waste to everything in his path with those high-end vocals was a religious experience. I still remember sitting in the Warden Woods parking lot after work with the song blasting from my pimped JBL speakers, thinking “Who the hell is Judas Priest?” And it’s mindblowing to hear Kiske sing just with just as much power if not more some 30 years later, with no loss of vocal range.
Interestingly, I found out only recently later that “Save Us” never appeared on the original vinyl LP release of Keeper II, but only on the CD version as a bonus track. It did, however, appear on the cassette tape version, which is odd but fortunate for me.
And, in 2016, Hansen performed the song live with Visions Of Atlantis singer Clémentine Delauney sharing lead vocals, and damn, they killed it. Unexpected, but brilliant.
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.”
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
At BraveWords we’re doing our annual look back on the year that was, with each scribe offering up their respective lists of Hots and Nots of 2015. My rundown is available below; the original version along with links to the other members of my BraveWords family can be found here.
Top 20 Albums Of 2015
1) QUEENSRŸCHE – Condition Hüman (Century Media)
2) CRADLE OF FILTH – Hammer Of The Witches (Nuclear Blast)
3) KAMELOT – Haven (Napalm Records)
4) CHILDREN OF BODOM – I Worship Chaos (Nuclear Blast)
5) SYMPHONY X – Underworld (Nuclear Blast)
6) DANKO JONES – Fire Music (Bad Taste)
7) GRAVE – Out Of Respect For The Dead (Century Media)
8) DEAD LORD – Heads Held High (Century Media)
9) CHRIS CAFFERY – Your Heaven Is Real (Metalville)
10) SLAYER – Repentless (Nuclear Blast)
11) HELLOWEEN – My God-Given Right (Nuclear Blast)
12) NONEXIST – Throne Of Scars (Mighty Music)
13) FEAR FACTORY – Genexus (Nuclear Blast)
14) STRYPER – Fallen (Frontiers)
15) CIRCLE II CIRCLE – Reign Of Darkness (earMusic)
16) THE V – Now Or Never (Frontiers)
17) STRATOVARIUS – Eternal (earMusic)
18) ANNIHILATOR – Suicide Society (UDR)
19) LEAVES’ EYES – King Of Kings (AFM)
20) MOTÖRHEAD – Bad Magic (UDR) Continue reading BraveWords 2015: The Scribes Speak – Carl Begai
In 2006, long suffering Canadian cult favourites Eidolon released their seventh album, The Parallel Otherworld. The record unintentionally signalled the end of a decade-long career just when Eidolon had clearly hit their stride with Pagan’s Mind vocalist Nils K. Rue behind the mic, but the move to call it quits didn’t come as a surprise considering founders Glen Drover (guitars) and Shawn Drover (drums) had been devoting their time to Megadeth as of 2004. As fate and musical inpiration would have it, however, Glen and Shawn have decided to close out 2015 with a new Eidolon track, “Leave This World Behind”, featuring Rue and long time bassist Adrian Robichaud. The song marks the first Eidolon recording in 10 years.
“To be honest, we never called it quits, we basically just decided to put the band on the shelf,” says Glen. “I mean, at that point yes, Shawn and I were now half of Megadeth, and way too busy to consider anything else regardless of the fact that we had finally found an all around amazing and professional singer who couldn’t be matched. We had a lot of negative feedback in the past about some of our previous singers. All of those people were silenced when we brought Nils in.” Continue reading BraveWords Interview: EIDOLON – Life After ‘DETH (Once More, With Feeling)
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
It’s considered poor journalistic form for a writer to put himself / herself in what’s supposed to be an unbiased info piece, but the catalyst for this story was in fact my personal disdain for teenagers in the music business. A hypocritical attitude to some degree given that many of the bands and musicians I hail as personal heroes started in their teens, but in this day and age it doesn’t seem to matter if newcomers are talent free with regards to achieving success. More than ever, the worn out music industry cliché of record label suits snagging disposable prettygirls’n’boys and thrusting them into the public eye with an image and songs written by an overpriced producer seems to hold true. And it’s not an illlness restricted to the pop music world (Baby Metal, anyone?).
With that in mind, if I had stumbled upon 16 year-old Gabbie Rae Trial through normal online channels, I likely would have dismissed her as just another fresh-faced marketing mogul’s dream guaranteed to be history before the end of the year. As luck would have it, she was introduced to me through a Facebook post by Queensrÿche vocalist Todd La Torre, who is known for his talent and integrity. Having spoken with La Torre several times in the past, there was no way he would waste his time and breath on fluff. Asking him to elaborate, he made it clear that Gabbie Rae is the real deal as far as he’s concerned. Curiosity piqued by the song being hyped (‘Scream’), a trip through YouTube’s infinite wealth of music yielded a startling catalogue of Gabbie Rae material. It runs the gamut from singer/songwriter ballads, an anti-bullying song, pop covers, and some positively startling live acoustic renditions of metal classics from Dio, Iron Maiden and Queensrÿche.
Her killer cover of the Queensrÿche classic ‘Queen Of The Reich’ – which really shouldn’t work acoustically – was enough on its own to push for this interview.
“The first time I met Todd I told him that I’d covered a Queensrÿche song acoustically, I’m pretty sure he thought it was ‘Silent Lucidity’ or ‘I Don’t Believe In Love’ or something like that,” Gabbie Rae laughs. “But… nope (laughs). It’s kind of fun to mess with people.” Continue reading GABBIE RAE – Life Is But A Scream
So, once again, a wrap-up of the Hots and Nots from the year gone by courtesy of my day job at BW&BK. The whole rundown of Brave Embarrassments, Best Concerts, assorted predictions and pleas to stop music industry stupidity can all be found here.
Below you’ll find my Top 10 list of favourite albums of 2013 and a long-winded summary of why the year didn’t suck for music… at least in my world.
Top Ten – 2013
1) ANNIHILATOR – Feast (UDR)
2) CHILDREN OF BODOM – Halo Of Blood (Nuclear Blast)
3) STRYPER – No More Hell To Pay (Frontiers)
4) QUEENSRŸCHE – s/t (Century Media)
5) HEADSTONES – Love & Fury (Universal/Frostbyte)
6) DUSKMACHINE – Duskmachine (Massacre)
7) THE NEW BLACK – III: Cut Loose (AFM)
8) JAMES LABRIE – Impermanent Resonance (InsideOut)
9) THRAWSUNBLAT – Wanderer On The Continent Of Saplings (Ignifera Records)
10) HELLOWEEN – Straight Out Of Hell (Sony)
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
Back on October 24th, 1991 a 22 year-old head-in-the-clouds metalhead sporting the oddball name of Carl Begai took his kid brother to see Queensrÿche at Maple Leaf Gardens in Toronto. The band was soaring on the strength of their now classic Empire album, and it was a show never to be forgotten by either sibling. A cult fave of the prog metal world through the ’80s, Queensrÿche had finally (and unexpectedly) hit the big time and gave the fans an arena show to match. Of course, if you’re a fan you’re fully aware of how things have gone to hell since then. Never mind the 20 years of pussyfooting around the band’s metal roots since Empire; amidst personal and professional ugliness there are now two versions of Queensrÿche, one featuring vocalist Geoff Tate and a new line-up, the other with former Crimson Glory singer Todd La Torre taking Tate’s place fronting the (almost) original roster. A recipe for confusion that will be rewritten in January 2014 when the battle over the band name goes to court.
Twenty-two years and a day after that fateful Toronto show, I caught up with the Todd La Torre fronted incarnation of Queensrÿche – the real QR for anyone that has heard their new self-titled album – in surroundings far and away from the glory of Maple Leaf Gardens. In the middle of a European tour, the band touched down in Munich, Germany to play a simple rock club catering to only a couple hundred people, one of several steps towards rebuilding the Queensrÿche name as it should be remembered. Prior to the show we sat down to discuss Todd’s rise to fame and the band’s return to greatness.
“I was going to do both,” Todd says of leaving Crimson Glory to join Queensrÿche, which was official as of February 2013. “When I joined (side project) Rising West which then became Queensrÿche, they knew I was in Crimson Glory but they never said ‘Hey, you’ve gotta quit.’ As far as the guys were concerned, as long as I could do both and Crimson Glory wouldn’t infringe on Queensrÿche’s touring, cool. They knew I had an obligation to do a record, so they weren’t going to tell me to quit. What upset me and still does is when I read statements from Crimson saying that the writing was on the go when I joined the band, but the fact of the matter is that’s not true. I’m still friends with the guys but I haven’t talked to Jon Drenning (guitars) in over a year. When I’m back home we try to get together for dinner – me, Ben, Dana, Jeff – just to maintain that friendship. I care about those guys.”
Todd has no regrets about leaving Crimson Glory for Queensrÿche. Looking back on when the offer came down, he agrees it was a no-brainer.
“This is a dream come true… exponentially. When things went down it was like, ‘I have to do this.’ Parts of it are surreal, other parts are not because I know these guys now. We’re all very close so I don’t see them in the same way I did before just as a fan. I’m still a fan, but not the way I used to be.” Continue reading BW&BK Interview: QUEENSRŸCHE – Rebuilding The Empire