Italian prog-metal band Even Flow have released a new 5-track mini-album. Meditterraneo features a big range of heavy rock, prog and lighter moments from the opener “Ocean Lies” which comes charging out and features a few changes throughout. “Revelation Day” is probably the easiest likeable track here, a straightforward bright rock tune, while in contrast “Leaves” is a soft piano-based ballad, great vocal. The set comes to a great finale with the 7-and-a-half-minute title track, which is probably the heaviest cut here. Fine heavy guitar, acoustics, synths, and vocals throughout this. For fans of Dream Theater, Stratovarius, and Queensryche. CD and other merch can be ordered at the band’s website- https://www.bandevenflow.com/
*For more on Even Flow check out the bio and press info below, and the links below
Photo Credit – Claudia Chiodi
Italy’s EVEN FLOW is proud to unveil their latest offering Mediterraneo, a five-track EP that takes the sounds of progressive metal blended with power metal-esque vocals with a dash of AOR eighties influences. Lyrically, the recording speaks of love, hope, sadness, and joy for the future.
“We decided the sequence of the songs according to the musical power it gave us at the time of writing and recording.” adds the band.
The EP opens up with the powerfully composed “Ocean Lies” with it’s strong vocal harmonies, that give way to a hint of Latin influences from the way the drums mesh with the guitar solo. Following into “Ray Of Light”, this is a song that speaks of love towards a woman, characterized by a clean guitar intro, working together with a keyboard to create very beautiful melodies to then end with an Arabic influence guitar harmonization. “Leaves” solo piano and voice piece, extremely intimate with the final part of the piano demonstrating strong harmonic tensions decreased to represent a love story between two young people that did not materialize. A song that gives a calm and melancholic balance to relax the listener’s ears bringing them to heavenly visions. “Revelation Day” with lyrics that have a Catholic inspiration, is to be heard very closely in its entirety, its melodic parts are intertwined with more progressive charm. EP closer and title track, “Mediterraneo,” tells a story about a loving relationship between two men, the track has Arabic interludes, many progressive metal parts, and melodic guitar solos.
Mediterraneo features Even Flow’s new lineup with vocalist Marco Pastorino (Fallen Sanctuary, Temperance) and bassist Luca Negro (Temperance) joining the Lunesu brothers Pietro Paolo (guitar) and Giorgio (drums).
The EP was mixed and mastered by Michele Guaitoli (Visions Of Atlantis, Temperance) with artwork by Mickael Briot of Mythrid Art (Nightmare).
Over the years, since making their debut in 2008 with their EP “Dream Weaver”, Even Flow has done multiple tours across Europe and has supported bands such as Serious Black, Firewind, Eluveitie, Iron Savior, Katatonia, Orphaned Land, Katatonia, Pain Of Salvation among many more.
Even Flow is: Marco Pastorino: Vocals and Choirs Pietro Paolo Lunesu: All Electric and Acoustic guitars Giorgio Lunesu: Drums and Percussion Luca Negro: Bass
The new Queensryche album Digital Noise Alliance is out. It’s the 4th studio album featuring singer Todd LaTorre, who is a more than suitable choice as replacement for Geoff Tate – at least if I’m going by this album, because this is an outstanding album. It’s very well produced, love the sound, the heaviness of it all, melodies and the songs in general make for a great listen (repeatedly!). I’ve heard plenty of Queensryche stuff since their glory days, but nothing that grabbed my attention like this one with “In Extremis” kicking things off in full force, and other ‘eavy cuts like “Lost In Sorrow”, “Sicdeth”, “Out Of The Black”, “Tormentum”, “Behind The Walls”… DNA only lets up on the ballad “Forest” and on the verses of “Hold On” (the latest single/video). A cover of Billy Idol’s “Rebel Yell” ends the disc, as a ‘bonus’ track, and it sounds really good (tho’ I don’t think anyone can really capture Billy Idol’s ‘attitude’ in the song, La Torre does a fine job on it).
*For more check out the press info below –
In April 2022, QUEENSRŸCHE finished a five-week North American tour supporting metal gods Judas Priest. That tour wasn’t merely a fiery return to the stage for QUEENSRŸCHE after a two-year pandemic: it was a rejuvenation. The sound of a band locked-in and firing on all cylinders. “The Priest tour was a great springboard for us to get back onstage in what’s essentially a new world,” says founding guitarist Michael Wilton. “We had so much momentum going off of our last record [2019’s The Verdict] and then, the world, our business, came to a grinding halt. We had to survive, pick ourselves up and get back to being QUEENSRŸCHE.” Now, their legacy has coalesced into another career milestone for the Bellevue, Washington borne band with the release of their 16th studio album, Digital Noise Alliance.
Overcoming obstacles and defying expectations has always been at the heart of QUEENSRŸCHE. With 20 million albums sold worldwide, innumerable accolades and a career that has charted the course of multiple genres, QUEENSRŸCHE remains bloodied but unbowed. Teamed again with producer and mixer, Zeuss (Rob Zombie, Hatebreed), Digital Noise Alliance embraces and refracts QUEENSRŸCHE’s history from the classic drive of opener, “In Extremis” through the ominous strains of “Behind The Walls” to epic album closer, “Tormentum”. Digital Noise Alliance is that elusive career-embodying album that echoes the most classic elements of the QUEENSRŸCHE’s sound. It pulses with the sort of sonic ambitions that changed the hard rock and metal landscape on albums like their multi-platinum Empire or their magnum-opus concept album, Operation: Mindcrime.
It was the isolation of Covid-19 that fueled the first creative stirrings for QUEENSRŸCHE. “Being left to your inner abandons brought up a lot of feelings,” Wilton admits. “It was a weird, strange time and not knowing if you were going to see the light at the end of the tunnel. It sucked, but it did ignite some of the creative elements for the new record.” Those ideas started to come together in early 2021 when Wilton met up with vocalist Todd LaTorre and began assembling the bare-boned riffs for Digital Noise Alliance at the singer’s home studio in Tampa, Florida. “It was a chaotic, uncertain time,” says bassist Eddie Jackson. “But the bottom line for us was to do what we always have done, which is to continue to create music, even in the face of adversity.”
“We started from scratch, face-to-face, in a room with our producer Zeuss,” says LaTorre, who joined QUEENSRŸCHE in 2012 and has been a driving force in the band ever since. “We were creating together in the same room, not file sharing. “It was all immediate, in real-time and nothing came from earlier sessions or discarded ideas.” Writing sessions continued for a year with tracking on the album commencing in the first week of January 2022. Drums ended up being tracked in a Florida mansion that once belonged to wrestling legend, Hulk Hogan with Zeuss recording on a mobile rig. “There’s a trust factor with Zeuss,” says Wilton of the band’s now three-album-running relationship with their producer. “He came in as a fan and really understood what QUEENSRŸCHE is about. With Zeuss, there’s a level of trust and understanding that we’ve rarely had with a producer. Everyone’s ideas and energies are on 10 and he knows how to harness that.”
During the album sessions, Michael Wilton employed an arsenal of amps from QUEENSRŸCHE’s early days. “We ended up using Michael’s collection of old Marshalls,” says Zeuss. “The amp from The Warning and the amp from Rage for Order or Mindcrime or Empire. Each song has different amps and different guitars that reach back to that era. Some of these amps that hadn’t been turned on in years and had markings on them that dated back to those records. We’d turn them on and it would be like, ‘Whoah!’ Like we were awakening this beast. It brought a lot of great vibes to the album.”
That cloying together of QUEENSRŸCHE’s past, and present has become the mark of the band who regrouped in 2012. Over the course of its last triptych of albums Queensryche (2013), Condition Human (2015) and The Verdict (2019), the five-piece took hold of the proverbial flame to give fans QUEENSRŸCHE in its purest essence. Moments like the lush, contemplative “Forest” echo career-defining highlights like the band’s Grammy-nominated hit single, “Silent Lucidity”. Digital Noise Alliance is every bit as emotionally passionate and forward thinking as anything in their expansive discography.
“QUEENSRŸCHE has always been a forward-thinking band,” says Todd, adding with a laugh, “The ‘Thinking Man’s Metal Band’ as they were called years ago! As early as The Warning QUEENSRŸCHE was experimenting, bringing in strings and orchestral elements. People like Michael Kamen. Back then, you’d only hear those elements on a Meatloaf album! Back then their staging was always very forward-thinking. They were using big ass projectors and screens. They were progressive in their own right and changed the landscape. They pushed things and expanded the genre in a thought-provoking, way. For us, the mission is really to get to preserve and elevate the essence of the QUEENSRŸCHE sound.”
With it’s current lineup of LaTorre, Wilton, Jackson, guitarist Mike Stone and drummer Casey Grillo, QUEENSRŸCHE is looking towards the future while looking back on the influence and impact of its past. “When you have two of the original members, you can’t help but get those QUEENSRŸCHE elements,” says Jackson, who founded the band with Wilton in 1982. “It’s in our DNA. But it’s also nice to hear fresh ideas or interpretations from Todd, Casey or Mike Stone.” For LaTorre, that balance between the band’s past and present is crucial. “We’re all advocates for certain characteristics that are very indicative to the band’s sound,” says the frontman. “The challenge for us is blending that history and the nuances that are important and true to the band but still feel modern.”
Digital Noise Alliance is quintessentially QUEENSRŸCHE. Track to track it embodies the lush melodies, passion and intelligence that’s been the mark of the band since they first took hold of the flame with their hugely received self-titled 4-song EP in 1984. “For me, musically and lyrically, QUEENSRŸCHE has always represented something cerebral,” says Todd “At a time when bands were writing about sex, drugs and rock n roll, QUEENSRŸCHE were writing about politics, religion, social injustice – topics that are more relevant now than ever. Even now, we’re walking that fine line between not telling people what to think, but simply to think.”
Hold On is the latest single/video from Digital Noise Alliance.The band comments: “‘Hold On’ primarily focuses on the misfortune of social media and how this new societal landscape has become a false barometer of ones’ value, essentially, influencing and affecting peoples’ self-worth. Reminding people to not believe everything they see, and to not buy into the glorification of fame, money, and popularity. It strives to empower those that have been blinded by the distorted reality of the glorified social media lifestyles. It is a song reminiscent of older, simpler times.”
QUEENSRYCHE is currently on tour as openers for JUDAS PRIEST:
Oct. 15 Albany, NY – MVP Arena Oct. 16 Boston, MA – MGM Music Hall Fenway Oct. 18 Uniondale, NY at Nassau Veterans Oct. 19 Wilkes-Barre, PA – Mohegan Sun Arena at Casey Plaza Oct. 21 Kalamazoo, MI – Wings Event Center Oct. 22 Detroit, MI – Masonic Temple Theatre Oct. 24 Cincinnati, OH – The Andrew J Brady Music Center Oct. 25 Waukegan, IL – Genesee Theatre Oct. 27 Green Bay, WI – Resch Center Theater Oct. 29 Moline, IL – TaxSlayer Center Moline Oct. 30 Mankato, MN – Mayo Clinic Event Center Nov. 01 Sioux City, IA – Tyson Events Center Nov. 02 Rapid City, SD – The Monument Nov. 07 Ontario, CA – Toyota Center Nov. 08 Tucson, AZ – TCC Arena Nov. 10 Loveland, CO – Budweiser Events Center Nov. 12 Park City (Wichita),KS -Hartman Arena Nov. 13 St. Charles, MO – The Family Arena Nov. 15 Corbin, KY – The Corbin Arena Nov. 17 Southaven, MS – Landers Center Nov. 18 Baton Rouge, LA – Raising Canes River Center Nov. 20 Oklahoma City, OK – Paycom Center Nov. 22 San Antonio, TX – Tech Port Center & Arena Nov. 23 San Antonio, TX – Tech Port Center & Arena Nov. 25 Dallas, TX – The Factory – Deep Ellum Nov. 26 Corpus Christi, TX – Concrete Street Nov. 28 Edinburg, TX – Burt Ogden Arena Nov. 29 Houston, TX – 713 Music Hall
With a career that not only spans, but has charted the course of multiple genres, QUEENSRŸCHE remains a force in their own right. “Digital Noise Alliance”, QUEENSRŸCHE’s 16thstudio album continues their ever-evolving legacy.
Once again teaming up with producer Zeuss (Rob Zombie, Hatebreed), “Digital Noise Alliance” not only refracts QUEENSRŸCHE’s past accomplishments but also pushes into the band’s future. It is the band effortlessly moving from strength to strength: immediate and thought-provoking.
QUEENSRŸCHE line-up: Eddie Jackson – bass Michael Wilton – guitar Todd La Torre – vocals Casey Grillo – drums Mike Stone – guitar
Another fine sounding heavy rockin’ band from Finland, Leaflet has a brand new single out from their forthcoming 2nd album. Check out the video to the excellent track “Gonna Do It”. For more info on the band and their upcoming album, check out the press release below.
Finnish rockers LEAFLET will be releasing their sophomore album Something Beyond this coming January 2023 via Rockshots Records. The album follows their debut album Outta Door released through VR Label Finland in 2017.
Today, the band is “Gonna Do It” and pull the trigger by giving fans the first single off their second full-length. The track is a hard riffing fist-pumping track to get you off your feet and rocking out!
“‘Gonna Do It’ is about the feeling of getting stuck in your life. You realize it is time for a change, and that it is your own duty to change the course of your life. Of course, there is a risk involved and it feels scary as hell, but you need to hear yourself saying: “Gonna do it”. ‘Gonna’ is the heaviest track we have written so far. We had several versions of it and ended up pretty much re-writing the whole song during the pre-production process. We are glad we did because the end result sounds absolutely stunning with its monster opening riff, crushing chorus, and epic guitar solo!” says the band about the track.
The band comments on Something Beyond:“With this album, we are definitely showing that rock music is alive and pumping! The album is full of catchy metal-influenced rock tunes that would fit perfectly in the heavy rotation of every rock radio station. The album has a lot of variety within the songs, and we got a diverse selection of singles as well. Three very different singles trying to represent the entire album as well as possible. As singles, we got one heavy and hard-hitting tune, one straightforward and super catchy tune, and one fast-paced in-your-face type of tune. You should check out them all to see what you think! “
Formed in 2013, LEAFLET is a four-piece hard rock band from Turku, Finland. Their music can be described as metal-infused American-style hard rock and while you might hear echoes of bands like Alter Bridge or Shinedown they have their own unique Nordic flavor. “Our musical cocktail is a blend of many things. Although we love the 80s, we are trying to keep our hard rock fresh and not follow the retro route”, the band says.
The band has performed on Finnish festivals such as Kuopiorock and Saaristo Open Air along with touring across their home country to support their debut album. They also spent time on the road in the Baltics with Willie & the Goodsouls in 2018 again playing clubs and festivals.
In 2019, LEAFLET released “Johnny Two-Face” as a single through VR Label Finland followed by an ambitious music video shot in both Turku, Finland, and Tokyo, Japan. After a couple of years of silence due to the pandemic, the band is now back with their second album Something Beyond to be released by Rockshots Records on January 20, 2023, sounding stronger than ever.
Track Listing: 1. Gonna Do It 2. Resonate 3. Alone Alive 4. Earth 5. Johnny Two-Face 6. Tattoos of Life 7. Shades of Black 8. Someone Somewhere 9. Something Beyond
Erja Lyytinen’s new album Waiting For The Daylight is now out and it’s a great set of 9 songs from Finland’s ‘Queen of the slide guitar’. Known as a blues player, her new material includes more hard-rock with the single “Last Girl”, southern (a bit country) rock of the excellent lead off track “Bad Seed”, and a bit of heavy prog-ish rock with the album’s center piece and title track, with it’s riff & organ giving the intro a Deep Purple feel, before the song takes on a few changes. “Waiting For The Daylight” is a personal song dealing with losing someone, and an epic piece, check out the solo here.
Other favorites on this album have to be the re-working of “You Talk Dirty”, a much heavier rockin’ version of the blues song originally recorded for 2002’s Attention! album (w/ Dave’s Special); as well “Run Away” that features a big guitar driven chorus, softer verses, a sweet vocal, and the slow blues closing cut “The End Of Music”. A very eye-catching, colorful album cover as well. Available on CD & LP at Erja Lyytinen’s website.
Photo Credit: Antti Karppinen
*For more info check out the links below, as well as the press info on Erja Lyytinen’s new single (and 3rd from this album)
Erja Lyytinen is pleased to release the third single and title track from her ninth studio album Waiting For The Daylight. The single was released the same day as her highly anticipated new album Waiting For The Daylight, which is available – https://erjalyytinen.com/waiting-for-the-daylight
To support the release of the new album, Erja will embark on a co-headline UK tour with the award-winning Belfast-based blues guitarist Dom Martin from November 7-10. Dates include Southampton, The 1865 (Nov 7), Bilston, The Robin (Nov 8), London, The Grace (Nov 9) and Grimsby, Yardbirds Club (Nov 10). Erja will be also playing with her band at Dudley, The Lamb (Nov 11) and Sittingbourne, The Bourne Music Club (Nov 13).
“Waiting For The Daylight” starts with a big guitar riff,” says Erja. “The intro leads to an airy verse and the choruses are quite heavy and dramatic. The heavy guitar riff that repeats throughout the song. I played two guitar solos on the end of the song in the style of Tony Iommi to create tension towards the end.
Continues Erja, “Recording this song was emotional experience for me. I was playing the solo for my friend who died because of a long-term illness. I also poured a lot of the pandemic frustration on this one, so the track became very passionate. In the lyrics, this beautiful creature comes to you on your last day to release you from your earthy pains. The story has a bit of that chivalry romance in some way. We filmed the music video also on the beautiful castle of Raasepori in Finland.”
“My band does an amazing job on the track, with Tatu Back on bass, Iiro Laitinen on drums and Harri Taittonen on Hammond,” concludes Erja. “I also dusted off my violin and played violin tracks to the end of the song. There´s a lot of layers in this blues-rock piece!”
David V. D’Andrea is an American artist, who has been creating album covers, posters, swag, and flyers for bands now for a number of years. His latest creation is the stunning cover art for San Diego band Birth’s debut album Born. Here, David shares his story on making the Birth album art, as well as a bit about his background. *Check out more on David’s art, as well as bands and album covers he’s been involved on, and order some of his prints and posters by checking out the links below.
Can you tell me a bit about your art background, as well as when you got in to creating album covers?
I am an illustrator and most of my work has been within the music world and related industries. Screen printed posters make up the majority of the work as well as album covers, apparel, etc.
Album covers were a facet of the work right from the beginning. I was a part of the ’90s underground scene in the California Bay Area where I did some underground album covers and photocopied show flyers.
What sort of music did you grow up on? And did you have any favorite album cover artists and/or covers?
My father’s record collection created the initial spark. I made the connection between art and music as a child pouring over his fairly average (though highly creative) record collection. Artwork like Martin Sharps work for Cream, Robert Crumb’s Cheap Thrills layout, and Gut Terk’s Blue Cheer cover all peaked my imagination.
Later I got into punk and hardcore which planted the very important concept of diy.. the realization that I can do it myself. I obsessed over skateboard graphics and artists like Pushead and VCJ.
How did the Birth album project come about – were you familiar with the band, label, etc…?
Yes, I am a huge fan of Astra and I created a few posters and shirts for them in the early 2000s. Birth is a sort of continuation of Astra.
The owner of Bad Omens Records is a also a comrade. He formerly worked for Rise Above Records for whom I did a string of three album covers, Witchcraft, Gentlemens Pistols, and Winters.
Was your art created specifically for the ‘Born’ album? And (if so) where did the ideas for the cover and inner gatefold come from? (Had you been able to check out the music beforehand or discuss ideas with the band? )
I did create the artwork specifically for the album and the band granted me a lot of freedom.
Comus “First Utterance” was a touchstone which is an example of a striking cover image which becomes unforgettable over time. It’s dark, earthy, and psychedelic and drawn in a raw style. When I first came across it years ago I likened it to the artwork for “In the Court of the Crimson King” by Barry Godber.
So, was the first Utterance LP cover part of the inspiration for the Birth cover?
The First Utterance cover (by Roger Wootton) was mentioned by the band as an inspiration, not as a literal reference but more for its vibe and peculiarity.
When drawing the Birth cover I kept that in mind.
I hoped to also craft a sort of pathway to ponder as you listen to the album. Birth to death and all the strange trips in between.
The figure is melding with a tree in the courtyard of a crumbling castle with pathways inward and outward.
Can you tell me a bit about the actual piece and how it was created? And are you happy with how the cover suits the music?
My work is hand drawn with India ink on wood panel. I wanted to accentuate the hand drawn / analog feeling and evoke the school of acid damaged art. It’s maybe reminiscent of an old Hawkwind bootleg or early Ernst Fuchs drawing.
There’s a sort of pathway to be followed while listening to the album with lots of mystical symbols along the way. I am very fond of the album and hope that my artwork contributes to the listener’s experience!
You’ve done a number of other album covers — can you tell me a bit about a few that you are most impressed with (or proud of) ?
Wino ” Punctuated Equilibrium” was a milestone for me. It was a momentous collection of Wino’s music and I was honored to do extensive artwork for all of the different facets of the packaging.
Mournful Congregation “Incubus of Karma” was a favorite because the album is a masterpiece and I greatly appreciate the band.
Birth is a progressive band from San Diego, who’s debut album is receiving fantastic reviews, and praise amongst new fans and press (the band recently featured in the latest issue of Prog Magazine). The band released a 3 track demo last summer, digitally, and this July their full length album came out on multiple formats, notably a number of colored vinyl variants featuring the awesome artwork by David V. D’Andrea! The album’s 6 songs hark back to that early 70s progressive and psychedelic sound; one of the best albums of 2022. Conor Riley answers my questions below on the band, making the album, and influences.
Can you guys tell me a bit about how the band came together and had there been any pre-Birth bands that sort of had that retro sound?
We accumulated a lot of material after going through a long hiatus with some of the other bands that we had been in. We got together to jam without any real vision or intention and eventually we developed our sound and started Birth! Astra was another band that Brian and I were in that had a retro 70s progressive style. Also, Brian, Trevor and Paul were all in a band called Psicomagica which has a 70s progressive/jazz fusion sound.
How did the band’s classic progressive sound develop? Was it an intentional move to have that early 70s progressive sound / feel from the start?
We listen to a lot of 70s music so it was natural for us to write and record with that sound. It was somewhat intentional but it was never something that was discussed or planned in any way. It was just the music we have been comfortable playing and listening to for the last decade or so.
When and how were the songs written for the Born album? Did any exist previously (other projects)?
We began writing the songs in 2016. Since we didn’t have a vision for Birth when we started writing these songs, anything could have been possible for them, but they didn’t exist for something that was intended for another project
Were the songs written in whole or more so developed in rehearsal to where they became those longer pieces with extended instrumentals?
Most of the time one of us comes to practice with an idea. We typically jam on them, sometimes ideas come up on the spot. Other times, we record it and listen to it at home and come up with parts independently to bring to the next practice. It’s usually a fairly long process of refinement to get something that we think is complete.
Can you talk a bit about how the songs were recorded and produced — type of recording gear (analog or digital), keyboards & equipment (older gear for that 70s vibe or newer), everyone in the studio together… [?]
The drums and a few other tracks were recorded live with everyone together. There were a lot of over dubs on this album. Everything was recorded digitally with all analog instruments. Different tracks were recorded at different places. Just about all of it was recorded at Brian’s studio with the exception of some of the keyboards, acoustic guitars and vocals that were recorded at my home.
The album has some great reviews and some major press. Are you guys surprised? And do you see a big following for retro sounding bands?
Yes, it’s really nice to read the positive reviews and press! There aren’t too many 70s progressive bands right now but I hear a lot of new music that has a retro sound so I think people are very receptive to it.
(Following on from last question) – Is there any other bands out there that sort of have that retro 70s progressive or hard rock approach that you guys like or recommend?
Yes, in San Diego there’s a good amount of heavy psych/progressive bands like Earthless, Sacri Monti, Zach Oakley… Also some modern Scandinavian Bands like Wobbler, Hallas and Needlepoint.
Can you tell me a bit about your own influences – favorites players, songwriters, bands?
There’s too many to list! Some of my favorite and most influential bands are Magma, Aphrodite’s Child, John Coltrane, King Crimson, Osanna, PFM, Area and Camel
The album comes in an awesome looking package. Curious how important the album’s artwork and packaging was and do any of you guys have big vinyl collections (from the days where album art and packaging really stood out)?
Yes! We’re very happy with how it turned out. I’m a big vinyl collector. My favorite part of releasing an album is opening the record and listening to it while looking at the artwork. I’ve always been a big fan of David D’Andrea’s work so it was important for us to have him as the artist for the cover.
The band has done some live shows. Is there any plans or prospects of getting on a tour throughout the US and Canada, or any European festivals?
Nothing has been booked as of yet but we really hope to be able to come to Europe in the spring! I’m also trying to book a west coast US tour this fall.
I know it’s early, but has there been any plans or writing for a follow up album?
We have some material written for the next album but no idea when we’ll be ready to start recording again.
Troy Redfern has become well known as Great Britian’s ‘King of the slide guitar’. The blues rocker has a new album titled The Wings of Salvation and is currently on tour in the UK with British rockers Dare. The Wings of Salvation is Redfern’s most accessible and talked about album yet, so if you’re not familiar – check out his latest singles/videos “Come On”, “Gasoline” and “Sweet Carolina”! You can also order The Wings of Salvation in various formats from his website, as well as previous albums, t-shirts, and art prints (Redfern has also created his latest few albums covers, among other pieces). In this interview Troy Redfern talks about his influences, favorite albums, his past recordings, and plenty about his new album. *Check out the links below for ordering and more info on Troy Redfern.
Can you give me a bit of background as far as where you hail from and how you came about to take up the guitar and blues direction?
I grew up on the Welsh border, near Hergest Ridge, which was made famous by Mike Oldfield – who recorded an album by the same name. It’s quite a rural area, and that’s probably one of the things that sort of lead me to play guitar. I was into soul music from an early age, from about the age of 5.
I think one of the most important things was I first saw the film Back To The Future – that really sort of solidified my desire to want to play the guitar, and my parents got me a guitar when I was about 12, I think. And I started getting in guitar music, from Back ToThe Future I heard Van Halen, and then I got into Jimi Hendrix, and the Beatles and all those kinds of bands. And then a friend lent me a Son House album on vinyl, and that was my introduction to early blues music, and that was kind of a game changer in discovering that, because this was pre-internet days. So yeah, that album really got me into blues and slide
I’ve read some of your favorite guitar players, a wide range of rock, fusion, and blues players. Could you give me a ‘top 10’ list of your favorite/influential guitar rock or blues albums?
My top 10 would probably be – Son House – Library of Congress recordings Zappa – Shut Up ‘N’ Play Yer guitar, box set. Allan Holdsworth’s – Road Games Steve Vai’s Flex-able Queen 2 Aerosmith’s Toys In The Attic Deep Purple In Rock Frank Zappa’s Overnight Sensation R.L. Burnside’s A Ass Pocket of Whiskey
You’ve made a name as ‘king of the slide guitar’. Can you tell me a bit about your attraction to this style and sound?
Like I said hearing Son House when I was really young got me interested in that style of music, but i really started getting into it probably when i was about 18 or 19. A girlfriend, her dad showed me how to tune a guitar to open tunings, and sort of module tunings, and major-minor, and from that point on I just kind of started experimenting with tunings and finding my way around the fret board and obviously because it’s completely different to standard tunings, so you have to re-learn everything. It’s just kind of something that’s developed over the years, I’ve put a lot of time into that style and found that to be one of the most natural ways for me to play. It’s just completely comfortable, and when you enjoy something, and you feel like you connect with something that’s that
You also sing – did this come about naturally or out of necessity? How do you feel about (or see yourself as) singing? Any favorite singers that either influenced you or you like in blues / blues-rock?
As far as singing goes, I enjoy singing, but it’s sort of one of those things – it’s a necessity thing. When I started going out under my own name, I just felt that it was right to not only have a voice on my guitar but to use my voice to sing. I think Elmore James was sort of one of my biggest influences
Your latest album is a great set of blues rock, and I think very accessible for those that aren’t familiar to your previous work. So, with that being said – can you give me some background on your pre-lockdown recordings? Personal favorites and highlights, successes…(?)
Background on my previous Lockdown recordings. the one I released in 2017 was called Dirt Blues Ritual, and that was maybe a bit less rock orientated, obviously still slide playing, but probably had more of a rockabilly-blues sound. It’s still identifiable with what I do now, but just the production I did was slightly different, and I was producing that stuff myself. Most of that stuff is on Bandcamp. And there’s an album I released through a Belgian label called Blues Boulevard Records; it was called Back Door HooDoo. And that was sort of a collection of material that I’d released digitally, the first album being Werewolf Etiquette, the second one being Mother Tongue and the third one being Playing with Fire – those were all released on Bandcamp. So that was like a collection of material, all the ‘best of’ from those albums, but they’re still available on Bandcamp. And like I said I was producing that stuff myself and it was sort of a free sort of time where I just learned, over the years, to record myself, and I got my home studio, so I was free to put stuff out without being self-conscious about what I was writing and just enjoying it. I think Werewolf Etiquette is one of my favorites
You made 6 (!?) albums during covid lockdown — what inspired so much writing & recording? And (again), can you give me a round-up in brief or those albums – their direction, how they varied, personal favorite tracks or highlights?
Yeah, I made 6 albums during lockdown, released that many. Well, it was actually 6 albums across that time period, one was actually released before lockdown – that was called This Raging Heart. And then as soon as lockdown happened, I decided I wanted to record something slightly more acoustic and little more experimental, and that became the album that was called Island. And then we realized lockdown was carrying on, so I decided to release more material that was on my hard drive, because you know I’ve recorded lots of material over the years, and I archived that stuff. And then I put (out) a leftovers album called Deep Cuts, which was stuff that didn’t make it onto This Raging Heart. I put out a resonating improvisation album called Improvisations Part 1. And then I put out an instrumental album called Thunder Moon – that’s one of my favorites, because that’s non-genre specific, really. It’s all instrumental music; it shows just different aspects of my creative output that isn’t sometimes released on the official releases, you know. So that’s really why I like Thunder Moon – because it’s so free. I enjoy that one!
Did you approach your latest album any differently to your previous few albums? Any changes in writing, recording,?
Yeah, normally I take quite a while to write stuff, and I’ll make a lot of demos over a long period. The Fire Cosmic I think took probably almost a year to sort of put that together before recording it, but this one was the complete opposite where we wrote and recorded everything from scratch in just over 4 weeks. So, it was a completely different way of approaching it; it was a lot more compressed. We sort of gave ourselves a deadline, which I think really helped you know – it really drew out ideas and it got them from the initial idea to being a fully developed song very quickly, which I think really helped keep the inspired part of the song in there. And I also worked with a producer named Dave Marks who really helped with different aspects. we talked about arrangements, and sort of stylistic choices we were going to make. So that was great – working with someone like that, working with someone closely crafting an album. And like I said, when I was producing all the stuff myself, you’re doing that in isolation, in a bubble, and this was a completely different process where you’re sort of bouncing off of someone and getting things done super-quickly, you know!?
Can you give us a bit of insight (with reference to the new album’s tracks) how you come up with songs – musically and lyrically?
As far as I come up with songs, and lyrics and what-not – usually all the ideas would’ve started with an acoustic guitar or a resonator – I use a 1929 National Triolian Resonator. So, we sketch the ideas, and they would just be non-conscious stream of thought kind of whatever comes out ideas, which is how I like to work because I feel that that’s the most inspired way of getting something – because you’re not actually consciously trying to force something out, you’re just playing and seeing what happens. Let’s take an example – “Gasoline” – I just started playing a riff, which happened to be in 7/8, and I would just play that riff and see where it went, and then just sort of take different turns you know – where the chorus would go and just feel my way through those changes. And as far as lyrics go, that was the hardest part of the album because I had 10 songs to write lyrics for in a very short space of time. There were thematic ideas and narratives that I wanted to get in this time. “Navajo” is about the great walk of the native Americans in 1865, a thing sort of about loss of freedoms, and just trying to tie those 2 things together with that sort of modern loss of personal freedoms and tying it back to that narrative. And “Dark Religion” is the combination of 2 different themes – one personal of the loss of a friend who died of an overdose, all stemming back to a strict Christian upbringing, but then also wrapping that story in a narrative about a woman leaving this country in the 1800s to go to America and set up a new life and realizing that the grass isn’t greener – that kind of narrative, which is basically the same character I used a song called “Ghosts” off The Fire Cosmic and “The Line” from Dirt Blues Ritual. So, I was pleased with the lyrics on that one because they felt like little self-contained stories instead of being too abstract
There is a wide range of guitar sounds, feel, and solos on this album – can you talk a bit about the different sounds and guitars you used on this?
On this album a big part of the album was the Dobro, I’ve got a 1935 Dobro M32, so a lot of the ideas were sort of recorded on that, using a Magnatone Twilighter stereo amp, and also the National Triolian- a 1929 National Triolian, I used that one. A couple of Danelectric guitars made appearances, and an old 1962 Silvertone Jupiter. So, it was mainly vintage guitars that I was using because I think they have unique characteristics that I kind of wanted to get tonally into the tracks, so the stuff’s still quite ‘rock’ but with those kinds of nuanced sounds that has some character that you wouldn’t get with just a standard Humbucker, maybe.
Can you tell me a bit about the album’s cover art/shot? Whose idea and who put it together? (Influences in creating that look?)
On the The Fire Cosmic, the last album, I did the artwork which is kind of in a Jack Kirby comic style. And I was really pleased with that – people seemed to like it, you know. So, I thought well on this one I need to do the same sort of thing. I enjoy making the complete package – where it’s not just the music, it’s the artwork as well. When I was speaking to Dave about needing to do the artwork, we’re both comic book and Star Wars geeks, and he said to me “this album is more Tatooine than it is Jack Kirby”, and I knew exactly what he meant – the sort of browns and reds of that kind of ‘desert’ environment. So, one afternoon I just decided to get some paper, and I managed to find some sort of sandy colored textured paper and I found some charcoals and pastels. And there was a photo that my daughter took, maybe 7 or 8 years ago, and just always loved the lighting on that. So, one of the original ideas was to use the photo and recreate that lighting, but instead I decided to have a go at charcoals and pastels, and I just worked on it, worked it up. And I was kind of pleased because it has that kind of slats of desert-y rough feel to it, texturally, and for me that seems to tie in with the music really well.
Any personal favorite tracks, solos, performances on the new album?
I really like “Dark Religion”, because that’s a style I’ve not written anything – I don’t think, in 3/4, and it has just a completely different vibe to anything I’ve done. And the solo section – I was really pleased with that, the chord progression under that kind of really octave of waves and sea which is sort of what the story’s about. And “Gasoline”, I was really pleased to get that one in there because that one’s in 7/8, and like I said before that’s something you don’t generally get in blues-rock and southern music, so it was nice to get a 7/8 in there that doesn’t throw you around and feel like jarring. And I really enjoyed the solo on “Mercy” because that’s actually not a slide solo, that’s just a standard tuning guitar solo, and I think that was just kind of nice to put it on there because it gives a different aspect, again, to just the slide thing that I’m kind of generally known for.
Have you played in North America as of yet? And when might we see you in Canada?
No – I’ve not played in North America – I’d love to. But it’s just one of those things, you know if the opportunity comes then I’ll be there like a shot because it’s somewhere … you know I’ve played in Europe, Russia, but have not been to the US or Canada yet, but I’d absolutely love to!
Steel Panther debut on record with 2009’s Feel The Steel, which featured favorites “Death To All But Metal”, “Party All Day (F**k All Night)”, and “Asian Hooker”. These guys took ‘shock rock’ in a new direction. Call them an ’80s metal parody band or whatever, but those first few albums delivered some memorable X-rated anthems that celebrated and mocked the ’80s metal scene, while the band’s videos lived up to the lyrics like it was 1985! 2011’s Ball’s Out featured “Just Like Tiger Woods” and “17 Girls In A Row”, followed by 2014’s All you Can Eat featured the classic “Party Like Tomorrow Is The End of The World”. The band followed up with a live album and 2 further studio album before bass player Lexxi Foxx left the band. The band has now found a new bass player and have recorded a new album. The first single is “It’s Never Too Late (To Get Some P***y Tonight)”, with a hilarious accompanying video (below). The band is set to go on tour (see dates below). For further info check out the press release and links below…
STEEL PANTHER ANNOUNCE SIXTH STUDIO ALBUM ON THE PROWL SCHEDULED FOR RELEASE ON FEBRUARY 24, 2023
On the heels of the recent addition of Spyder as their full-time bassist, California rock legends STEEL PANTHER are announcing their sixth studio album On The Prowl. The album is schedule for release on February 24, 2023, and feature 13 new tracks from the creative brains of Satchel, Michael Starr, Stix Zadinia and Spyder. On The Prowl was produced by Steel Panther and is now available for pre-order in multiple configurations including CD, Cassette, and 2 different color variant vinyl recordsHERE!
From the opening synth intro of “Never Too Late (To Get Some Pu**y Tonight)” to the thunderous outro of “Sleeping On The Rollaway,” Steel Panther is back with the infectious riffs, pounding drums, unforgettable vocals alongside the witty humor that has earned them a global audience. Songs like “On Your Instagram,” “Magical Vagina” and “One Pump Chump” are sure to fit in on the biggest live stages next to the band’s most-memorable songs. “1987” is an incredible retro look at that unforgettable year and the band even slows things down on the reflective “Ain’t Dead Yet.” The first single from On The Prowl is the memorable “Never Too Late (To Get Some Pu**y Tonight).” A music video for the song can be seenHERE.
“The song and video are an absolute public service announcement. People have been asking Steel Panther for advice on life, love and the pursuit of happiness for decades. ‘Never Too Late’ is a reminder to never give up, follow your heart, realize your dreams, overcome your challenges, navigate the rough seas, reach for stars and any other cliché you have in your pocket. Basically, what we are saying it is never too late to get some pu**y tonight,” explains Stix Zadinia.
The track listing for On The Prowl is: 1) Never Too Late (To Get Some Pu**y Tonight) 2) Friends With Benefits 3) On Your Instagram 4) Put My Money Where Your Mouth Is 5) 1987 6) Teleporter 7) Is My D**k Enough (feat. Dweezil Zappa) 8) Magical Vagina 9) All That And More 10) One Pump Chump 11) Pornstar 12) Ain’t Dead Yet 13) Sleeping On The Rollaway
As Steel Panther has ventured into the musical instrument space with the successful release of three guitar pedals: the legendary Pu**y Melter, Poontang Boomerang and Butthole Burner; the band is back with another must-have piece of gear – the 1987 pedal. The pedal is a combination distortion and delay pedal that can give any guitarist the signature sound of that classic year. The pedal will retail for $198.70 (see what we did there?) and as only Steel Panther can describe: “With the grit of 100 chainsaws and the ability to repeat itself more than that super stoned dude from Chemistry Class, it is truly the ultimate badass accessory…next to eyeliner.” The band is also making limited number of Charvel Custom Satchel 1987 Guitars. The 1987 pedal and Charvel Custom Satchel 1987 Guitars are available for pre-order here:https://steelpantherrocks.com/collections/on-the-prowl.
To coincide with the new bassist announcement, the newly whole Steel Panther are announcing a new US tour- Claus & Paws Holiday Party. The eight-city tour will kick off In late November after the band wraps up their recently announced Canadian leg of the Res-Erections tour 2022. The holiday shows will be sure to bring out the ho-ho-hoes to Michigan, Ohio, Indiana, New York and Connecticut. More information on tickets and purchase links for all shows can be found at:https://steelpantherrocks.com/pages/tour.
Res-Erections 2022 Fall Tour Dates 10/28 – Calgary, AB – Grey Eagle Casino 10/29 – Enoch, AB – River Cree Casino 10/30 – Grand Prairie, AB – The Bowes At Bonnetts Energy Centre 11/1 – Saskatoon, SK – The Coors Event Centre 11/3 – Regina, SK – Casino Regina Show Lounge 11/4 – Winnipeg, MB – Burton Cummings Theatre 11/5 – Minot, ND – The Original Bar & Grill * 11/7 – Green Bay, WI – Epic Event Center 11/9 – London, ON – London Music Hall 11/10 – Toronto, ON – History 11/11 – Ottawa, ON – Algonquin Commons Theatre 11/12 – Montreal, QC – Corona Theatre * Steel Panther Only/No Black Stone Cherry
A Claus & Paws Holiday Party Tour Dates 11/26 – Sault St. Marie, MI – Kewadin Casino 11/27 – Grand Rapids, MI – 20 Monroe Live 11/29 – Warren, OH – Packard Music Hall 11/30 – Ft. Wayne, IN – Piere’s Entertainment Center 12/2 – Waterloo, NY – Del Lago Casino * 12/3 – Poughkeepsie, NY – The Chance Theater 12/4 – New Haven, CT – Toad’s Place 12/29 – Vancouver, BC – Commodore Ballroom 12/30 – Vancouver, BC – Commodore Ballroom
ABOUT STEEL PANTHER: For the uninitiated, Steel Panther was formed in 2000. Hailing from Los Angeles, the epicenter for rock n’ roll in all its debauchery and glamour, Steel Panther has established themselves as the world’s premier party band, melding hard rock virtuosity with parody and criminally good looks. Steel Panther is a global phenomenon with four full-length albums, touring across the world, platinum-level You Tube status and high-profile television appearances such as Jimmy Kimmel Live, Larry King Now, and FOX NFL Sunday.
Rolling Stone avowed, “There’s a reason Steel Panther have transcended their origins as a cover band playing the Sunset Strip,” while Metal Sucks declared, Steel Panther’s concept is genius…their songwriting is…preposterously snappy – and relatable.”
Steel Panther L to R: Stix Zadinia (Drums), Spyder (Bass), Michael Starr (Vocals), Satchel (Guitars)
So, this is the 2015 reunion show of the actual Alice Cooper (the band) that penned and recorded all those hits (a number of which are here), and classic albums like Love It To Death, Killer, School’s Out, Billion Dollar Babies and Muscle Of Love. The greatest American rock n’ roll band, ever! So, there was finally a reunion, minus original lead guitarist Glenn Buxton, who passed away in 1997. Filling in was Alice’s current solo band player Ryan Roxie, who does an excellent job. The sound on this release is amazing, considering it was in a shop in Dallas (Good Records), and not a theatre or something, so somewhat informal. The band was there to promote Dennis Dunaway’s bookSnakes! Guillotines! Electric Chairs! and played this 8-song set. With Michael Bruce (guitarist) taking vocals on the opener “Caught In A Dream”, you can tell by the audience reaction when Alice comes out to join the band for “Be My Lover” and the rest. It’s a killer performance, being done by those that created these songs and know how they should sound. Check out Dennis’ bass on “Is It My Body”, the way it should sound. The show ends with “School’s Out” (surprise!), with harmonica added by Chuck Garric (Alice’s present bass player), but the band returned to perform “Elected” for the encore.
Live from the Astroturf is full of energy, and the bandmembers sound like they’re having a great time, with between song banter, drum rolls, and laughs; Alice tells a few humorous tales as well. Added here is the soundcheck instrumental performance of “Desperado”. This release (on Ear Music) is a worldwide reissue of the Record Store Day album from 2018, but has been repackaged nicely, with a different cover, inserts, vinyl variants, and all CD and LPs numbered (I got the ‘glow in the dark’ green vinyl!). An amazing addition to the Alice Cooper collection! Looking forward to watching the included Blu-Ray disc of the documentary of the whole event, later. There’s also been 2 videos released from this album…
Press info:By 1974, the Alice Cooper group had risen to the upper echelon of rock stardom… and then, parted ways. In October 2015, over 40 years later, record store owner and superfan Chris Penn convinced the original line-up to reunite for a very special performance at his record store Good Records in Dallas, Texas. Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal Smith (drums) were joined on stage by Alice’s current guitarist Ryan Roxie (standing in for the late Glen Buxton). A packed audience, believing they had come to Good Records for Dennis Dunaway’s ‘Snakes! Guillotines! Electric Chairs!’ book signing, were surprised to bear witness to a full-blown happening. The historic reunion show including all-time classics such as “No More Mr. Nice Guy”, “I’m Eighteen” and “School’s Out” is now becoming available for the very first time worldwide. Luckily the event was documented. “Live From The Astroturf, Alice Cooper” (edited and directed by Steven Gaddis) toured the world to the acclaim of music fans and rock journalists alike. The documentary won multiple awards for it’s coverage of the historic event. Now all Alice Cooper fans and rock music lovers across the globe can enjoy this movie as it’s included as a video bonus to this live album. Pop the popcorn, blow up the balloons, dim the lights, and crank it up!
Recently picked up the Donington ’83 release on CD. It’s a reissue of the 2010 release (that couple it with the Donington ”87 show). I haven’t picked up much of the barrage of Dio re-issues and archival releases that seem to keep coming out, but Donington ’83 was a must have as that is the Dio ‘band’ for me! A couple of these tracks did appear way back on the B-side of the “Hungry For Heaven” 12″ ep. It is the original Dio band – like the original Blizzard of Ozz band that were ‘it’ for me, and like post BOZ LPs, I slowly lost interest in Dio albums beyond this era. Vivian Campbell, Jimmy Bain (RIP), Vivian Campbell, Claude Schnell, and RJ Dio himself – was THE band! Having said that, I am happy to have this, it’s a great recording featuring 4 tracks from Dio’s debut Holy Diver and filled out with excellent renditions of Rainbow Black Sabbath classics. And looking at my old Dio 12″ singles which contained live tracks, it is noteworthy that there seems to have been a few shows properly recorded from that era (I presume most of these are already out there bootlegged or otherwise), so I hope we’ll get more from the 83-86 period. Also available on vinyl this time (as is Donington ’87). Looking forward to the next Last In Line (band) album now.
Outsider Rock 