Already
being one of my favorite live bands, Letterkills proved to me why they're one of
the best in my book. Their debut album, ‘The Bridge’, was released on Island
Records on July 27, 2004. From the opening track, "Lights Out", to the closing
song, "Hold My Heart (Part One)", ‘The Bridge’ is a solid mix of everything that
makes a great record. Several months ago, I received a sampler, featuring their
first single, "Don't Believe" and "Radio Up". Although I personally like the
sampler version of "Don't Believe" better than the album version, Letterkills
simply knows how to rock on every song. The fifth track, "The Clock is Down",
is one of my favorites on the album, because of its slightly softer edge and
great lyrics. "When You're Away" is far and away my favorite song, with
incredible lyrics and a great beat. It throws out lyrics that a lot of people
can relate to, like "Something seems to change; When I know you're by my side. I
start to feel a rain; And it pours until I feel alive. Record these notes; Make
no mistakes. Cause some days; I've come to find....no words to say when you're
away." Overall, ‘The Bridge’ is an amazing record with lots of single-worthy
tracks. It's an album that I haven't stopped listening to since I got it. All of
these songs sound just as amazing live, as well. If you get the chance to pick
up Letterkills' debut album or see them live, do it. Check them out at
www.letterkills.com (Melani Alleshouse)
L.S. Bumblebee – ‘Mid-Life on
Maher Square’ (VeXation Records)
This
is at least the third seventies Clevo band to get back together and release an
album this year (Rocket From the Tombs and The Backdoor Men being the others I’m
aware of). Like The Backdoor Men, L.S. Bumblebee weren’t really part of the
Cleveland punk scene, although main
songwriter/vocalist/guitarist/drummer/keyboard player (!) Scott Stemple would go
on to play in punk rock bands including the currently active Chrome Kickers.
Instead, this is more a mix of sixties blues rock and American garage rock.
Most of the tunes are uptempo rockers, but mellow numbers like “Lost Nation
Blues” and “21st Century Street Urchin” help give the release some
sonic variety. I can’t really say any of the tunes on here jump out at me as
being either especially great or especially awful. While Scott’s guitar style
is perfect for this sort of band, his drumming isn’t quite up to snuff and the
vocals aren’t as distinctive as I’d like. Still, a couple tunes on here are
worth repeat listens: the rousing opener “Little Johnny (Turbo Hair)” and the
psychedelic closing track “Simon Magus” definitely stand out. The rest of the
songs are okay, but don’t really grab me. (Bob Ignizio)
You know it’s a strange
year in music when two of the most interesting albums to come out are concept
albums with nautical themes. Book of Knots did it a few months ago with their
self titled debut, a masterpiece of experimental alt rock. Now Mastodon serve
up the metal version with this ‘Moby Dick’ inspired collection of punishing
riffs, brutal vocals, and quality songwriting. I liked the band’s previous
release, but was less than thrilled with the all too common these days bland and
buried vocals. This time, the vocals are more distinguishable and even melodic
at times. Combined with the complex yet memorable riffs the band already had,
the end result bridges the gap between modern metal core, old school thrash, and
prog rock. Now don’t be scared by the prog rock comparisons. The average Yes
fan would still run screaming if he or she heard this. Think Voi Vod in their
‘Dimension Hatross’/’Nothingface’ prime. Although I wouldn’t say Mastodon sound
like that, they share the same musical spirit. ‘Leviathan’ is adventurous,
unique, and just plain good from start to finish. (Bob Ignizio)
Mobscene are
clearly influenced by classic metal like Judas Priest, Black Sabbath, Dokken,
Ozzy, Queensryche, etc. They play this style of music without irony and without
apology because it’s what they like, and they do it well. First, the
positives. This is a really talented bunch of guys. The band writes good riffs
and good hooks, and arranges them in such a way as to put the focus on the song
rather than showing off their abilities. On the downside, the production (done
by the band itself) sounds a little thin overall, and the drums have that demo-y
“cardboard box” sound. The band also have a tendency to wear their influences
on their sleeves, especially on the first three tracks. Finally, vocalist Jeff
Zaigen’s performance on this disc has a tendency to feel a bit to sterile and
precise, in contrast to his delivery when playing live, which is a bit more raw
and emotional. The good news is the second half of this disc (which was
recorded later) shows the guys already making improvements in all these areas.
The production is stronger, Jeff’s vocals sound more loose and confident, and
the songwriting shows the band finding their own style. Mosbscene isn’t quite
on the level of better known modern metal bands in the classic style like Iced
Earth, Cage, or Wolf, but they have the potential to be. The band sounds much
better live, so a good producer may be the only thing keeping them from reaching
their full potential as a recording act. For more info, check out
www.mobscene.net. (Bob Ignizio)
Already
being one of my favorite live bands, Letterkills proved to me why they're one of
the best in my book. Their debut album, ‘The Bridge’, was released on Island
Records on July 27, 2004. From the opening track, "Lights Out", to the closing
song, "Hold My Heart (Part One)", ‘The Bridge’ is a solid mix of everything that
makes a great record. Several months ago, I received a sampler, featuring their
first single, "Don't Believe" and "Radio Up". Although I personally like the
sampler version of "Don't Believe" better than the album version, Letterkills
simply knows how to rock on every song. The fifth track, "The Clock is Down",
is one of my favorites on the album, because of its slightly softer edge and
great lyrics. "When You're Away" is far and away my favorite song, with
incredible lyrics and a great beat. It throws out lyrics that a lot of people
can relate to, like "Something seems to change; When I know you're by my side. I
start to feel a rain; And it pours until I feel alive. Record these notes; Make
no mistakes. Cause some days; I've come to find....no words to say when you're
away." Overall, ‘The Bridge’ is an amazing record with lots of single-worthy
tracks. It's an album that I haven't stopped listening to since I got it. All of
these songs sound just as amazing live, as well. If you get the chance to pick
up Letterkills' debut album or see them live, do it. Check them out at
This
is at least the third seventies Clevo band to get back together and release an
album this year (Rocket From the Tombs and The Backdoor Men being the others I’m
aware of). Like The Backdoor Men, L.S. Bumblebee weren’t really part of the
Cleveland punk scene, although main
songwriter/vocalist/guitarist/drummer/keyboard player (!) Scott Stemple would go
on to play in punk rock bands including the currently active Chrome Kickers.
Instead, this is more a mix of sixties blues rock and American garage rock.
Most of the tunes are uptempo rockers, but mellow numbers like “Lost Nation
Blues” and “21st Century Street Urchin” help give the release some
sonic variety. I can’t really say any of the tunes on here jump out at me as
being either especially great or especially awful. While Scott’s guitar style
is perfect for this sort of band, his drumming isn’t quite up to snuff and the
vocals aren’t as distinctive as I’d like. Still, a couple tunes on here are
worth repeat listens: the rousing opener “Little Johnny (Turbo Hair)” and the
psychedelic closing track “Simon Magus” definitely stand out. The rest of the
songs are okay, but don’t really grab me. (Bob Ignizio)
You know it’s a strange
year in music when two of the most interesting albums to come out are concept
albums with nautical themes. Book of Knots did it a few months ago with their
self titled debut, a masterpiece of experimental alt rock. Now Mastodon serve
up the metal version with this ‘Moby Dick’ inspired collection of punishing
riffs, brutal vocals, and quality songwriting. I liked the band’s previous
release, but was less than thrilled with the all too common these days bland and
buried vocals. This time, the vocals are more distinguishable and even melodic
at times. Combined with the complex yet memorable riffs the band already had,
the end result bridges the gap between modern metal core, old school thrash, and
prog rock. Now don’t be scared by the prog rock comparisons. The average Yes
fan would still run screaming if he or she heard this. Think Voi Vod in their
‘Dimension Hatross’/’Nothingface’ prime. Although I wouldn’t say Mastodon sound
like that, they share the same musical spirit. ‘Leviathan’ is adventurous,
unique, and just plain good from start to finish. (Bob Ignizio)
Mobscene are
clearly influenced by classic metal like Judas Priest, Black Sabbath, Dokken,
Ozzy, Queensryche, etc. They play this style of music without irony and without
apology because it’s what they like, and they do it well. First, the
positives. This is a really talented bunch of guys. The band writes good riffs
and good hooks, and arranges them in such a way as to put the focus on the song
rather than showing off their abilities. On the downside, the production (done
by the band itself) sounds a little thin overall, and the drums have that demo-y
“cardboard box” sound. The band also have a tendency to wear their influences
on their sleeves, especially on the first three tracks. Finally, vocalist Jeff
Zaigen’s performance on this disc has a tendency to feel a bit to sterile and
precise, in contrast to his delivery when playing live, which is a bit more raw
and emotional. The good news is the second half of this disc (which was
recorded later) shows the guys already making improvements in all these areas.
The production is stronger, Jeff’s vocals sound more loose and confident, and
the songwriting shows the band finding their own style. Mosbscene isn’t quite
on the level of better known modern metal bands in the classic style like Iced
Earth, Cage, or Wolf, but they have the potential to be. The band sounds much
better live, so a good producer may be the only thing keeping them from reaching
their full potential as a recording act. For more info, check out
