HEART LINE is an ’80s influenced hard rock/aor band, featuring guitarist/producer Yvan Guillevic. The band’s latest release is a 5 song ep of 80s covers, all done well, all interesting choices. Love the Stan W. Decker artwork too! *For more info check out the press info and links below…
Oh, the glorious 80’s…! Those were the years of innovations and great hopes and for music lovers, an endless wave of Rock, Hard-Rock, Heavy Metal, Hair Metal and AOR fabulous bands who could capture audiences instantly with powerful emotions. In essence, it was the reign of flashiness, big choruses, effervescent guitar solos and above all the decade for melody. It is no secret that Yvan Guillevic the founder of Heart Line grew up nurtured by these fascinating music influences. They made him the outstanding musician we know who now rocks his own guitar on the AOR wave. If you ask him, he will tell you they are actually his DNA, the raison d’être of Heart Line! With 2 album releases in the verve of melodic rock “Back in the Game” & “Rock ‘N’ Roll Queen’ that were both acclaimed by the Int’l press, the band thought it was fair to pay a sincere tribute to the great bands of this fabulous era. The 5 titles of this EP are a fine selection of some of the most outstanding music AOR material of the 80’s from various countries, UK, Sweden and the US. Forget about mainstream hits! Through their immense qualities, these 5 tracks prove enough how breathtaking the music level was in the 80’s and how much the bands deserved recognition. Who knows? May be some of you will discover band names that had slipped under your radar and yet deserved!?
Tracklisting: 1. Falling (TOBRUK cover), 2. Runaway (DAKOTA cover), 3. Front Line (AVIATOR cover), 4. Living On A Knife Edge (VIRGINIA WOLF cover), 5. Go Easy (ALIEN cover)
Band: Emmanuel Creis (vocals), Yvan Guillevic (guitars), Jorris Guilbaud (keyboards), Dominique Braud (bass), Walter Français (drums)
Swedish band PRISONER released 2 excellent hard-rock/aor albums in the early 2000s, which have recently been re-issued together as One + Two, in a limited 2CD run. This is well worth hearing, finely written, performed, and produced. Lots of good varying songs, vocals, and heavy guitar, along with melody, harmonies. One is the heavier (and best IMO) of the 2 albums, with fave cuts being “Stop Playing Games”, “Starry Eyes”, and “Where Is The Fire”. Two is a bit lighter, with a few ballads mixed in, but still good, with cuts like “Jasmine”, “Prisoners”, and “Return My Heart”. Well worth checking out! More info below (from press), and links.
The double album “One + Two” of the Swedish melodic rock band PRISONER contains the total of two albums of the band: “Blind” (2000) and “II” (2001) and is released in a limited edition of 500 copies. The band consisted of musicians, song writers and producers Tommy Denander and Ricky Delin together with great singers Geir Rönning and Pierre Wensberg. Tommy Denander remastered both works and created the new artwork. As part of the Pride & Joy Music Classixx series, the double CD is released as Vol.4
Italian heavy psych rock stalwarts MR.BISON reveal the second single taken from their new album “Echoes From The Universe”, to be issued on February 16th through Heavy Psych Sounds. Enter the stratosphere with “Collision” exclusively on It’s Psychedelic Baby Magazine!
Their upcoming fifth album ‘Echoes From The Universe’ invites the listener to a prismatic voyage that explores the notion of freedom and destiny through Norse mythology and weaves together a vivid and majestic sonic tapestry that brims with liquid riffs, graceful psychedelia, progressive grandeur and vibrant vocals. A modern and fulfilling space trip that should please fans of the likes of Elder, King Buffalo, Howling Giant.
About the album, the band says: “The theme of “Echoes from the Universe” is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one’s life path through willpower. Its concept is based on the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present, and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance.”
It was produced by guitarist Matteo Barsacchi, mixed by Nicola Giorgetti at the Indipendente Recording Studio and mastered by Carl Saff at Saff Mastering in Chicago.
MR.BISON masters the art of melding heavy psychedelia with progressive elements and evocative soundscapes. Formed in a small coastal town in Tuscany (Italy) in 2009, the band has reinvented their sound through four albums from stoner psych to heavy progressive rock, firmly establishing themselves in 2018 with the acclaimed “Holy Oak” and their 2020 concept album “Seaward”. The band has toured Europe and North America several times and played various festivals such as Desertfest Berlin, London and Antwerp, Krach am Back, Duna Jam.
Mr BISON introduced their brand of Heavy Blues influenced by groups like Captain Beyond, Nektar, Pink Floyd, Jimi Hendrix and the more.
ENIAWAR have released their 2nd album (as of December 1st). The band from Croatia consists of Marin Tramontana (guitars, music ), and Katarina Tramontana (vocals, and lyrics), as well as Hugo Ribeiro (drums). Another World is a 10 track set of hard rock, with great vocals, and a cool set of fresh sounding rockers. Love the overall sound and production on this album! I’m just getting in to this, but it is easily likeable right away. Check out the 3 videos I’ve included below, as well as the links below!
DOKKEN’s latest album Heaven Comes Down features the eye-catching cover art created by the band’s bass player Chris McCarvill. Chris has also designed the cover for the band’s 2012 album Broken Bones, as well as his other band Maxx Explosion. In our exchange below Chris details the album’s artwork, as well as his other art and covers he’s designed (also see links below).
You are known more so as a musician, and member of Dokken, but can you tell me a bit about your art work, how you got in to that, and what you do as far as professionally and as hobby/interest in it?
I’ve been a professional graphic artist for 30 years, mainly in screenprinting. I now co-own a screenprinting company, Savin Rock Printing. I’ve always been interested in art; my dad and younger brother are great artists, and my mother was pretty good too. I’m not trained or schooled; I just like it.
You’re credited with the cover art on the new (and previous) Dokken album. Can you tell how the album cover idea / inspiration for Heaven Comes Down came about? was the cover your idea / design, and/or input and suggestions from other bandmembers?
I had visited Don’s house in Beverly Hills in 2016 when we were playing the Whiskey, and he had an Asian wooden griffin statue that caught my attention. He said that was the first piece of art he had bought when the band had started making money. It’s not restored, it looks very old and it’s quite large. Dokken cover art features a phoenix sometimes and this piece seemed to just fit, it’s the right style, its heavy metal looking, but also artistic and classy. I’d mentioned to Don that the griffin was my vote for an album cover more than once.
That said, it’s in a very static, boring, standing position which is not exciting for an album cover. I looked at a lot of pictures of mainly lions jumping and based the dynamics on that but used the head, features, and details of the griffin.
Is there a story behind the cover in terms of a meaning relating to Dokken or any of the songs?
It’s more of a symbol of Don and how he rises in the face of many difficulties.
What all did you do on the Heaven Comes Down cover (as you are not the only one credited)? And can you explain a bit of how it was done (technique used, drawing?, computer?, lay out, etc…)
This started as a good old pencil sketch. I did 2 sketches. Don thought the first one was too skinny, so version 2 was more muscular. I decided to make most of the griffon vector, or object based, meaning I could move elements around as I figured there would be many changes – and there were. Illustrating it this way allowed me to move and re-proportion things without having to completely redraw, and I could use the objects as masks in photoshop, like how an airbrush artist uses stencils. So, I sketched it, did a lot of color work, then Hiro (I think he works with Silver Lining – our record label) did better hands than mine, and a couple other details. He also did an entirely different griffon, in different colors, but we ended up going with mine. I had thought the art was approved, Don liked it, and we were sent a final version that had been photoshopped with different colors and different backgrounds. I thought it looked great, though I don’t know who did that final coloring/layering. So, this cover was a bit of a group effort.
You’ve done a few other album covers, any you wish to touch on (or elaborate on a bit) and were particularly happy with?
I’m never super happy with my own work. Out of the few I’ve done I probably like the Maxx Explosion records. I’m sure you’ll see the Hugh Syme influence. I’ve never pursued art the way I’ve pursued music. I think I’m ok at it, but I’m definitely not in the same category as my influences.
Were you a fan of album covers growing up? any favorite album cover artists and a perhaps top 5-10 list of favorite album covers?
Oh yeah. Growing up for me was pre-internet, so album covers felt like a window into the world of the band. I liked Hugh Syme’s covers a lot, I had the Whitesnake 1987 album. I constantly wondered what the brass logo icon was or if it did something, like was it some sort of portal, or lock, or gateway? Hugh’s concrete and marble textures always gave the music a sort of classy mystery. His concepts are usually breathtaking as well (look at Dream Theater’s Distance Over Time). I love Doug Johnson’s Judas Priest covers (Screaming for Vengeance / Defenders of the Faith / Turbo). They have a glossy, stylized, almost surreal look that’s instantly recognizable. Hipgnosis also did great stuff like Black Sabbath’s Technical Ecstasy cover, Storm Thorgurson’s Pink Floyd Division Bell, Muse’s Absolution. I also like Mark Norton’s work with the Rolling Stones very much. Roger Dean’s fantasy landscapes always captured my imagination too.
As for the new Dokken album, any favorite songs and ones you look forward to playing live?
We haven’t played much of the record live yet, so I’m not super sure, but I like Just Like a Rose, Fugitive, and Gypsy. I’m not sure that we’ll ever do it, but I love the song, Santa Fe. Having known Don for a little while now I know he writes very sincerely and that one is so him.
British bands URIAH HEEP and SAXON will be co-headlining a US tour throughout April, May and June of 2024. (Dates to be announced in a few weeks). Heep who released their 25th studio album, Chaos & Colour, in January (this year) and Saxon have a new album set to be released January 19 titledHell, Fire And Damnation.
Earlier this year Saxon released their 2nd album of cover songs titled More Inspirations, which included their rendition of Heep’s “Gypsy”. Guitarist Paul Quinn retired from touring, and Brian Tatler (Diamond Head). Heep played shows to commemorate their 50th anniversary last year, and recently finished a tour of Brazil, but haven’t featured Chaos & Colour songs in their show as of yet, so presumably 2024’s performances will see some of these great tracks performed. Prior to the US , Saxon and Heep, as well as Judas Priest, tour as the European Metal Masters.
,Bob Jackson of BADFINGER shared the following news on December 12 regarding a new digital album release coming of Pete Ham songs. This is a follow up to the album ‘Misunderstood‘, released earlier this year. Check out Bob’s post for all the details below, as well as the first track released from it.
I’m very honored and thrilled to announce the release of a brand new Pete Ham digital album release, titled “Gwent Gardens.” This is the follow-up to “Misunderstood” and the first new release since the passing of producer/engineer Dan Matovina. This is being released with the full support of the Ham Estate. The album is full of the beautiful melodies and universal lyrics that Pete is well known for, composed on either guitar or piano/keyboards. Most of the songs on this new collection have never been heard before by the public, however there are still some demo versions of his well known tunes. This release will be different from previous ones; None of the songs will include posthumous overdubs. Dan would be very pleased to know that his desire to get all of Pete’s unreleased songs out for the public to enjoy is being fulfilled by his team of close friends and associates. One of the last things he told me was, “I can’t believe there are still so many great Pete Ham songs that no one has heard yet.”
The digital album of “Gwent Gardens” can be pre-ordered from Apple Music starting on December 10 and will be released for streaming and downloading on December 21, 2023. A preview song, “Love Will Be” will be available as a YouTube lyrics video starting December 10.
In addition, there will be a special album preview event on the BadfingerIveysOfficial YouTube channel on Friday, December 15 from 9:00-10:00pm EST.
Steve Hackett has released a new single/video from his forthcoming album The Circus and the Nightwhale which will be released on 16th February.
Steve says of the track: “People of the Smoke spins us all back in time to 1950, when bustling post-war London was stifled with smog from trains, chimneys, industry and smokers. I was born into that world! This song kicks off an album following my life’s journey both literally and metaphorically…”
The new album is available to pre-order on several different formats, including a Limited CD+Blu-ray mediabook (including 5.1 Surround Sound & 24bit high resolution stereo mixes), Standard CD Jewelcase, Gatefold 180g Vinyl LP & as Digital Album. All feature the stunning cover painting by Denise Marsh. Pre-order now here: https://stevehackett.lnk.to/TheCircusAndTheNightwhale
Steve will celebrate the release of his new album with two HMV instore events in London & Birmingham, where he will be taking part in a Q&A and signing albums. Find out more details on those here: https://ow.ly/HUaT50Q7paJ
TRAPEZE was a British band, perhaps better remembered for the players that were in it and went on to bigger success with other acts, instead of the of excellent albums they made in the ’70s. The band existed from 1969 til 1981 (or 82), and seems to be best known as the band that Glenn Hughes got his recording start in. But, TRAPEZE was not particularly just Hughes’ band; in fact the band based around the guitar sound of Mel Galley carried on well after Hughes left to join Deep Purple in 1973, and released a few very good albums in the latter ’70s. The band also featured (drummer) Dave Holland before he joined Judas Priest, and their last recording line-up – Peter Goalby, before he joined Uriah Heep. Mel Galley was there beginning to end ’til he had an offer to join Whitesnake, so I think it’s safe to say that Trapeze was Mel’s band.
This 14 track album of previously unreleased and unheard material is a most welcomed addition to the band’s catalogue, which in recent years has been reissued in expanded versions, compilations and live releases, undoubtedly bringing back the name Trapeze to many who previously may not have been very familiar, myself included! My initial interest years back was the Hughes-Deep Purple connection, and the Peter Goalby connection (being a Heep fan), and Hold On (the band’s last studio album) remains my favorite. The band’s debut featured a 5 piece band that was signed to the Moody Blues label, but Trapeze seemed to be best remembered as the short-lived trio that released the 2 classic albums Medusa and You Are The Music…We’re Just The Band. After Hughes left, Mel Galley took on lead vocals as well, and added guitarist Rob Kendrick and bass player Peter Wright, and recorded the classic Hot Wire (love that album cover), followed by Trapeze (self-titled), Running/Hold On (with Peter Goalby), and the Live in Texas: Dead Armadillos. Lost Tapes Vol. 1 features tracks from the band’s early days right through to the end with Goalby, and a few from the band’s short-lived reunion in the ’90s. Though the songs aren’t in chronological order, this album features a pile of outstanding Trapeze tunes that might make you wonder why this stuff has never surfaced before. Trapeze was known for their funk-rock style, something that made them a fairly unique band in the ’70s, though often lumped in with early ‘heavy metal’ acts, they were far from it, though they could deliver some heavy hard rockers, and here we get standouts like the heavy Hughes’ sang “Breakdown” – which sounds so fresh one could easily mistaken this for a much more modern recording. There’s the ’80s production sound of “Destiny”, the funkier “Lover”, and closing track “Going Home” (which is a heavier take of the song that appeared on 1974’s Hot Wire).
Lost Tapes also features 3 tracks with Goalby on vocals, including the first one “Cool Water”, an excellent catchy feel-good rock tune, and one of many to feature a memorable guitar riff/intro from Galley, who also doubles up on the vocals on this, with a solid drum performance from Dave Holland (RIP). There’s also the memorable “You’ve Got It” from this era, featuring some excellent slide guitar as well. But my favorite track here is Goalby’s “Who Do You Run To” (the one song written by PG, himself here), absolutely outstanding late ’70s hard rock with influences from the period, a killer little intro and chorus. (Maybe someone can explain how this chorus and similar title ended up on the 1982 Hughes-Thrall album!?).
This makes a great addition to the Trapeze catalogue for fans of the band. The 14 tracks here are all well worth hearing; this is no exercise in ‘cleaning out the vaults’ of anything and everything, this was properly put together for fans to enjoy, and a tribute / reminder of this great band. One of my favorite releases of 2023! I am curious and looking forward to a Volume 2 (presumably there will be!?) Lost Tapes Vol. 1 can be purchased in digital form, CD, and limited orange vinyl (which I am awaiting!)
Helsinki’s SATAN’S FALL has an outstanding new album out – Destination Destruction(SPV/Steamhammer). Check out my review elsewhere on this site, but if you’re in to SAXON, HELLOWEEN, or JUDAS PRIEST’s later albums – I highly recommend checking this album out. In tis following interview guitarist – Tomi Mäenpää answers my questions about the band’s forming, the making of and songs on Destination Destruction, and the band’s upcoming plans.
Enjoy the read, check out the new album, and links below!
Can you tell me a bit about the band’s beginnings, the band name choice, and up through the changes that happened since the band’s previous album?
Satan’s Fall started almost by accident and I’ve often laughed that this is a band that was never supposed to be a band. The band started when we played together with another founding member, i.e. our former guitarist Kride. We didn’t intend to start a band, just to drink beer and play the guitar together, but when riffs and melodies started to emerge, we started asking more people to join us. At that point, when we were looking for other guys to join the band, Satan’s Cross was chosen as the name. The name was meant to be attention-grabbing and maybe a little infuriating. At the same time, when we recorded the first ‘Seven Nights’ demo, some Mexican band managed to grab the name for themselves. Kride and I then thought about a new name and ended up with the name Satan’s Fall. We didn’t think of any Mercyful Fate connection at the time, even though everyone knows they have a song of the same name. Satan was thrown out of heaven because he started to rebel, and heavy metal has a similar rebellion against authority figures.
When did writing and recording begin for the new album? And what sort of direction or new ideas were decided upon for this new line-up and album?
I composed the first song ‘Lead the Way’ as soon as Final Day came out, so it was 2021. Then I did ‘Dark Star’ and Lassi (ex-guitarist) did ‘Garden of Fire’. With the demos of those songs, we approached record companies, which then led to a recording contract with Steamhammer. After that, it was a bit quieter, because Ville (ex-drummer) decided to leave the band, as a result of which Lassi also left. We got new and current guitarist Ville Koskinen in the band immediately when Lassi announced his departure, but I had to look for a drummer for several months until I found Arttu. Basically, we don’t think that now we have to make this or that type of song, but they are created purely by playing and feeling. Personally, I at least want to try different approaches to music, as I did with the song ‘Dark Star’. I tried to see what kind of song you could build on one rhythm guitar riff. After all, everything else is built on top of that one rhythm track. I think it worked out well.
How do Satan’s Fall songs come together? Who writes them musically & lyrically, and what inspires musical & lyrical ideas?
Me and Ville, i.e. the guitarists, mainly wrote the music for the new album and Miika then does the lyrics and vocal arrangements. Anything can be a source of inspiration, and it often is. Less often, I’m personally inspired by listening to old heavy metal to make my own music. I do notice which bands do that, because then they all sound exactly the same. Most of the time, things seem to arise by themselves and subconsciously. I don’t really know how to describe it any better, since I don’t really have any answer. Miika’s lyrics are very much about the downfall of humanity.
Destination Destruction has an excellent sound, great production. Can you talk a bit about how happy you are with how things turned out?
We are satisfied with how the album sounds, but of course some things could have been done differently, but I guess everyone thinks the same way about their albums. Our former guitarist Lassi was again responsible for recording, mixing and producing. Of course we also shouted out our ideas and how we wanted certain things to sound. The main thing is not to start repeating the same things we have already done.
You guys have an awesome 2 guitar heavy sound? Any 2 guitar bands you like to look up to or like to be compared to?
At this point, I’m not interested in comparing ourselves to anyone else or whether we’re being compared to another band. Totally irrelevant to us.
Can you talk a bit about some of the new songs – any antidotes or stories behind tracks like Afterglow, No Gods No Masters, Lead The Way…? Any that stand out for you guys personally?
Each song has it’s own story and you can read it in the lyrics. The listener can then draw their own conclusions about the theme of the song’s lyrics. A song like ‘No Gods, No Masters’ is a pretty clear statement based on the name alone. Or what do you think? My favorite is ‘Afterglow’, but I like all the songs on the album, because each song has its own place on the album.
I really like the last track ‘Dark Star”, a powerful track musically and vocally. I gotta say (if this doesn’t seem odd) the guitar solo (and faint keyboards!?) kinda reminds me of Neil Young’s ‘Like A Hurricane’. Love it.
I do not know. Neil Young has nothing to do with this song, but people hear things in their own way. Dark Star was the second song I wrote for the new album. I wanted to try out what kind of song I could compose based on just one rhythm guitar riff. So the song has only one rhythm riff and everything else is built on top of it. We got a nice little extra spice to it with the synths and Ville plays a brilliant and atmospheric solo guitar at the end.
Interesting couple of cover songs as bonus tracks! Especially the Power Ranger theme, which is instantly recognizable here (my older kids watched this show way back). How did this idea even come up to record it?
The record company wanted two bonus songs for the CD version, so we selected a couple of our favorites. I personally don’t care for the bonus tracks on the album because they spoil the overall feel. There’s nothing worse than listening to a great album set and then after the last song a bonus song starts playing. At worst, they are some old shitty quality live or rehearsal tracks.
Can you guys tell me a bit about the album’s cover-art — who created it, how much input and ideas or suggestions did you put forth?
The cover art was created by Dan Goldsworthy, who has done covers for Accept and Gloryhammer, among others. The idea was ours, but the execution was then completely in the hands of the artist. We didn’t like the first draft, but then Dan nailed it perfectly with this second version that ended up on the cover. In the picture, people are walking towards the light, even though they are walking into a human slaughterhouse.
What have been some of the live highlights for the band over last few years – favorite festivals, bills you were on, opening slots, bands you’ve shared stage with and got to meet?
Perhaps the best gig memory is when we played the 2017 Headbangers Open Air in Germany to a big crowd that was very involved throughout the gig. Good memories are also when we played a couple of times with Manilla Road (R.I.P. Mark Shelton) and warmed up Pentagram and Satan.
We also warmed up Primordial with a couple of gigs in Finland. After those gigs came the first member change, when singer Markus, drummer Tommi and Kride left the band after the second gig.
What is coming up for you guys in the near future? Any major festival announcements or tours?
We are trying to build a European tour for next spring, but the situation seems pretty impossible at the moment, because Venues don’t respond to e-mails or offer ridiculous deals where the artist pays for everything from sound technicians to drinks. We have a few festival gigs coming up, but no major festival shows. Heavy metal is not of much interest to big festival organizers these days, and it is unlikely that there will ever be a change.
There is a great hard rock & metal scene in Finland, can you give us a few bands or albums you guys would recommend to check out from there?
All Stratovarius material from 1989-2000, Children of Bodom’s first three records and Tarot’s first two records.
Outsider Rock 