Big Mean Sound Machine‘s third album Contraband was released earlier this year and has slowly been gaining traction throughout the state. Hailing from Ithaca, Big Mean Sound Machine has continuously broadened their sound with each new release. The opener “In the Name of What?”is a throwback to the Stax era sound of 70’s funk and soul. From the Shaft-esque guitar holding down the background of the song right to the horns that guide the track through its seven minute journey. From the get go, Contraband lets you know that you’re going to want to move your body while listening to the record.
The band hits its’ groove during “Woah Gosh”and “Junkies Everywhere”. “Woah Gosh” constantly builds as the horns and the Moog synthesizers play off one another to see who can lead the track to its eventual transition into the “Junkies Everywhere” that is steeped in Afrobeat and jazz. The drums and congas really get a chance to shine about halfway through the track as the Moog searchers around in the back keeping a beautiful tension and making the track sound dangerous. You get the feel of walking the streets in a city late at night as those who are up to no good are coming out of their homes searching for their next score.
The title track comes late in the album but is one that definitely could take off in the live setting. The quick guitar and bass riffs that drive the track forward will definitely get people moving and grooving on the floor. The band is at its tightest here of the whole album. The closer, “Wolfpack” brings the album to a delightful end with a song that could be in a Quentin Tarantino film scoring a scene perfectly. Contraband is great throwback album, yet Big Mean Sound Machine did a great job of updating that sound and making it their own. Be sure to catch them in New York this fall and head on over to their Bandcamp page to purchase the album.
Key Tracks: In the Name of What?, Wolfpack, Junkies Everywhere
Conehead Buddha recently announced major changes to their lineup as they head into moe.down on August 30.
Conehead Buddha
Newcomers Suke Cerulo (guitarist of Schleigho fame), Colin Almquist (bass) and Amit Shamir (drums) are each identified as family, according to the band’s recent press release, and join Chris Fisher (lead vocals, percussion, guitar), Terry Lynch (trumpet, vocals, hand percussion), Shannon Lynch (saxophone, flute, vocals), Shaun Bazylewicz (trombone), and Mike Dunn (keyboard). The perceived familiarity among them all lends the band confidence that their sound will “tighten up” and “rock harder” as they prepare to hit the studio with new tunes.
The first official set for this raging eight-piece is on August 30 at moe.down music festival in Turin, N.Y.
One of the original genre-blending bands to grace the jam scene. Conehead Buddha plays songs you can dance to. Sometimes they’re in a trance-like jam, sometimes they’ve got a salsa pulse and sometimes they rock it out with a taste of ska. Whatever the groove, CB is an exciting band to see live and get down to.
NYC based Snarky Puppy played their last hometown show of the year at the Watermark Bar and Lounge located at Pier 15 in Manhattan Saturday night. After Kung Fu got the pier rocking harder than the adjacent barges in the East River, Snarky Puppy wrapped the night up led by bassist/music director Michael League with eight other pups displaying their wide range of jazzy jams.
A cool wind blew in from the direction of the setting sun as Kung Fu opened the night with a wholesome set of funk. “We’re Kung Fu, and we’re here for you!” guitarist Tim Palmieri quipped early in the set to a huge applause.
Kung Fu
Clearly enjoying themselves on stage, the Connecticut quintet exuded an air of total confidence jamming for the Lower East Side crowd. Drummer Adrian Tramontano abused his set in the best way and bassist Chris DeAngelis was the heart of the funk. With bright orangey-pink rays of sun bouncing off the city skyscrapers, Kung Fu’s set concluded with grooving dual saxes.
Horny puppies.
As darkness set in, Snarky Puppy took the reins in spectacular fashion. Justin Stanton and Mike “Maz” Maher were in sync blaring out trumpet duets and sounded equally sharp taking turns soloing. Chris Bullock anchored the brass section for the night, playing a highly emotive saxophone into the unseasonably brisk city air.
The Brooklyn-based band, which formed in Texas in 2004, won its first Grammy earlier this year. “Something”, the fifth track off their 2013 album Family Dinner- Volume 1earned the award. The tune—an all-around hit— features velvety trumpeting, quaking bass, and a stirring performance by Lalah Hathaway on vocals. The recent success has helped launch the band to an all-time level with widespread critical acclaim, playing to audiences worldwide.
With the bright lights of the big city shining, Snarky Puppy transitioned seamlessly between blues, jazz, and soul. I strolled around the pier, soaking in the view of the Brooklyn Bridge in the foreground and the Manhattan Bridge behind it, connecting the boroughs. Thudding bass vibrations floated my way, and I couldn’t help but to snap and bop while walking.
The Brooklyn Bridge in background, stage left.
Robert “Sput” Searight and Nate Werth kept the beat on drums and percussion all night, changing tempo between slow R&B jams that would escalate into soulful clap-along funk. Cory Henry and Bill Lawrence split duties on the keys while Bob Lanzetti rounded out the Puppy-pack on the guitar. As a whole, the group showcased creative and well-rounded composition skills. Their ability to improvise equally adroitly places them at the top of their music game. Despite the chilly temperatures, Snarky Puppy followed Kung Fu’s lead and rocked NYC’s Watermark late into the night.
When Ace Frehley releases an album like Space Invader, what you can expect to get from it can be summed up in one, single phrase. Let’s be honest. It’s going to have whatever he damn wants in it. Frehley is a rock legend. Yes, there is an emphasis on the word legend. He’s a founding member of KISS. And, while they currently tour along with Def Leppard without him, he’s got a another solo album on the shelves today.
Listen to him, and he will point out that he continues to be the best selling member of the original band when you compare each member’s solo work. He’s one of the best guitarists to ever walk the land. You need only a few fingers on your hand to name the rest of the company in that group: Jimi Hendrix, Jeff Beck, Jimmy Page, Pete Townshend. The rest, they all have Ace to thank.
“I don’t think much about how I influenced a whole generation of guitar players because that idea is so big [laughs],” said Frehley. Pearl Jam’s Stone Gossard, Lenny Kravitz and the late Dimebag Darrell of Pantera are amongst the numerous artists whom have pointed to the legendary guitarist as a profound inspiration. “I’m not egotistical and I try to be humble about all facets of my life but it’s kind of mind blowing to know I was a huge influence on a new crop of guitar players in the same way that people like Hendrix, Page, Beck and Townshend had an impact on me. I was influenced by all those players and now I’m lucky enough to have that kind of influence on guitar players younger than me that grew up listening to KISS and Ace Frehley. It goes full circle and it’s the way that rock and roll evolves. It’s a good feeling and it makes me feel proud. I hear my influence on some players and it just puts a smile on my face and gives me a little hop in my step.”
It’s no secret that Frehley had once sought other means to add a hop to his step. His career, his personal life, has been marred by years of substance abuse. But, as of 2014, Frehley has been sober for seven years. And, with the release of Space Invader, Frehley is already comparing this work with that of his first solo album from 1978 that reached platinum status.
Now, all things considered, there is nothing cutting edge coming out of Space Invader. Everything about it has a nostalgic feel that takes one back to the ’70s. First, the subject matter is a tip of the hat to his KISS stage persona as The Spaceman. Second, the album title is reminiscent of the arcade game of nearly the same name (Space Invaders – also from 1978). Even the album cover would look sharp plastered on the side of an arcade game cabinet. This is a fact that is certainly not missed by Frehley, as evidenced by his cover of The Steve Miller Band’s “The Joker.” Nonetheless, Frehley is not a young buck cutting his teeth trying to establish a signature sound to separate himself from the rest of the pack.
Oh, no.
You know how you often read music critics describe a song, or a band, as “arena rock,” and you’re not so sure what it means, so you go look it up in a dictionary? [Sorry. Too archaic of a term.] Wikipedia it? Right after the above definition you’ll find: See Also: Ace Frehley.
Frehley announced on his Facebook page yesterday the release of collector guitar pics in each of the first 25,000 printed CDs.
Space Invader provides music fans a showcase display of a legend at work, from singing to writing to sometimes double-timing as both lead guitarist and bassist. Antiquated as the sound may be to the contemporary fan, the best way to appreciate this album is to consider the style from the 63-year old rocker is the original source most others have imitated through the course of the past 40 years. Space Invader is available at online stores and brick and mortar retailers, or in the official Ace Frehley online store.
Key tracks: “The Joker“, “Starship“ (instrumental), “Change”
When Jonny Hawkins was cut from his San Antonio elementary school chorus, he adopted the belief that he couldn’t sing. But he loved music, and he isn’t a quitter, so he turned to drums. By the time he was in middle school, he had joined with Daniel Oliver and Mark Vollelunga to form the band Nothing More. As the group developed and began to seriously consider a career as a rock band, Hawkins began to question the life-long belief that he couldn’t sing. Questioning that belief allowed Hawkins to uncover a surprising and strong talent. Today he is lead singer of Nothing More, and the band is working its way to the top of the charts.
The idea of questioning beliefs is the theme of Nothing More’s 2014 self-titled album. The band performed to a small but enthusiastic crowd at Upstate Concert Hall on Aug. 15, 2014. Using their own experiences as inspiration, songs like “This is the Time (Ballast)” encourages listeners to open their eyes and not be blind to reality. “Mr. MTV” is about greed and gluttony, pointing out a very real problem in America today, which is an insatiable need (want) for material things that don’t truly satisfy.
Nothing More’s music and message were received well by fans. Almost everyone crowded towards the stage once the band came out, leaving many open bar stools (which is extremely rare at this venue). The band brought on Paul O’Brien for drums, allowing Hawkins to move to the front of the stage as lead vocalist. It’s great fun to watch him bang on his small auxiliary drum-set, but even when he isn’t drumming, he clearly wants to bang on something.
Hawkins wasn’t the only one with energy though. All the guys were into the performance. Of note was the inclusion of an interesting prop used to mount the bass guitar and allowed Hawkins, Oliver and Vollelunga to play the instrument together. The choreographed performance of “Salem” was also high energy, giving all four musicians the chance to drum together.
The opening acts, too, had a lot of energy. Into Shadow, an Oneonta-based band, opened the night with a distinctly ’90s sound. Sleepwave, a new group led by Spencer Chamberlain, former lead singer of the immensely popular Christian metal band, Underoath, is a very interesting blend of influences and styles. They mix ’80s headbanging with sounds reminiscent of Nine Inch Nails, Green Day, and Jane’s Addiction. Chamberlain’s dramatic performance makes it appear as if he was in severe emotional pain, but that passion does keep eyes on the stage.
All three bands have upcoming tour dates; Nothing More is continuing on a very ambitious schedule well into October.
Hot August Sundays at SPAC has meant country music and last Sunday was no exception. A sold out crowd at Saratoga Performing Arts Center welcomed the nation’s hottest star, Luke Bryan, along with Lee Brice and Cole Swindell. Twenty-six thousand fans filled the pavilion and the lawn enjoying the perfect weather and high-energy performances.
First up was Cole Swindell. Cole had a short set but the crowd had an extended time getting in and the amphitheater and lawn were pretty much full by the 7PM start time. While folks knew his biggest hit “Chillin’ It” that hit number one on the country charts in 2013 and his newest single “Hope You Get Lonely Tonight” – Cole’s biggest hits of the night were sung by Luke Bryan. Swindell is a very accomplished songwriter and his friend Luke Bryan has benefited with numerous hits: “Just a Sip”, “Beer in the Headlights”, “Roller Coaster” and many more.
Lee Brice served as direct support for the tour and sang his heart out to the capacity crowd. From songs about being crazy to being in love with beer. The redneck factor was sky-high and the good times were definitely rolling. Even a toast with the famous red solo cup was enough to have SPAC erupt with whoops and hollers. Brice’s “A Woman Like You” may have been his only number one but it was the rendition of “Love Like Crazy” that stole the show. The big man, who went to Clemson on a football scholarship, held the note on Craaaaaaaaaaaaaaa-zy for what seemed an eternity. The screams from the women in attendance, the vast majority, were only matched later in the evening when the headliner shook what his mama gave him.
And shake, he did. Luke Bryan may have a great voice and great songs, but his good looks and on-stage presence wins the reward for making grown women swoon. Upbeat songs and a lot of dancing carried over from the stage through the seats, all the way back to the far reaches of the lawn. The winner of numerous Country Music Awards, including the Top New Artist in 2010 and Artist of the Year in 2012, along with Billboard’s Top Country Artist in 2013. Bryan sang all his number one hits, such as: “Rain Is a Good Thing“, “Someone Else Calling You Baby“, “I Don’t Want This Night to End“, “Drunk on You“, “Crash My Party“, “That’s My Kind of Night“, “Drink a Beer” and his most recent number one, “Play It Again“” In total Luke Bryan has 11 number ones and his last two albums also topped the charts, going double platinum.
Bryan’s stage performance included the expected shaking and gyrating, but also included him bringing out a cooler full of beer and tossing cans into the audience. The beer-loving crowd that was chugging down over $10 cans all night long did not miss a beat. While the artist attempted to toss most of the beers to the attractive women near the stage, the men were less than gentlemanly snatching them out of the air. Those antics didn’t ruin the mood and seemed more par for the course. In fact, a sentimental toast recalling old friends that the crowd has shared a beer with that are no longer with us on this earth was cause for 26,000 to raise their cans of beer, or bottles of water in the air. It was the perfect way to wind down the evening only to have the party crashed and a duo encore that seemingly everyone stayed for to hear. “Play It Again” and “Country Girl (Shake It for Me)” finished the show. The country girls did shake it for Luke and he gladly returned the favor.
For those that are not fans of country music but do enjoy a good Skynyrd or Marshall Tucker tune should give the newer country artists a chance. While cliché country topics of pick-up trucks, drinking beer and swimming holes still resonant through the genre, the pace is a little faster and the guitar solos are a little longer. And if those reasons don’t sell you on trying country music again, well, perhaps a plethora of ‘Daisy Dukes’ might change your mind.
As far as music festivals in New York State go, there’s one that stands just a little more Upstate than all the others. Located in Peru, NY, a mere half hour from the Canadian border, Backwoods Pondfest truly lives up to its name. The festival features a scenic backwoods campground that lies, naturally, next to a large pond in the heart of the North Country. For the eighth year in a row, Twin Ponds Campsite played host to both musicians and campers for a weekend that was filled with beautiful weather and live Upstate music.
The festival seems to pride itself in offering a spacious, relaxing camping environment that’s both easily accessible and close to all the action. Campers in certain areas could easily hear the music emanating from the Main Stage without even leaving their site. Sets that alternated all weekend between the main stage and the Tent Stage, a smaller stage located a little further into the woods, helped make not missing a note of music all weekend a distinct possibility for some. Pondfest is also extremely dog friendly provided they’re kept on leashes, a rule that seemed to be respected by everyone. All these elements just help add to the appeal of a smaller festival like this one.
Even with only two days of music, the 2014 edition of Backwoods Pondfest was still able to produce a weekend full of top notch music that featured several memorable and impressive collaborations. Under the only slightly gray and overcast sky of the weekend, Friday’s action really seemed to elevate after a set from playonbrother featuring Alan Evans of Soulive. His new project features a new organ player, Kris Yunker, who was chosen to replace Beau Sasser who recently left the band to pursue other endeavors. Big shoes to fill indeed, and Yunker did a fine job along with guitarist Danny Mayer in accompanying Evans, who is a verified whirlwind on the drum kit, in crafting a sound full of soul, funk and the occasional hard rock. In addition to their spirited original songs, playonbrother has also been known to feature Cream covers in their sets and this was on full display here in the form a set closing “Sunshine of Your Love”.
Festival hosts Lucid then played an acoustic set over at the Tent Stage in front of a rapt group of fans of the Plattsburgh based band whose members are prominently involved in the setup and production of this festival every year. When they’re not helping out behind the scenes, Lucid traditionally plays one set each day of the festival and this year would prove to be no different. With guitarist Kevin Sabourin brandishing an acoustic model, the North Country rockers treated everyone to a set full of signature original songs and blues covers that helped keep the rising spirits and festival momentum going in the same direction.
Normally, a rap or R& B artist might have a “fish out of water” feel to them in a festival lineup full of jam bands and rock outfits like this one. However, Chali 2na was anything but this as he and his backing band House of Vibe led a now riveted crowd through a set of hip hop classics and originals on the Main Stage. A talented keyboardist on backup vocals and a more than sturdy rhythm section made sure this more than just set of rap songs but, rather, one that also encompassed elements of jazz, blues and even rock. This was also not even the first Pondfest appearance for one of the founding members of rap group Jurassic 5, as Chali 2na was also on the bill in 2010 by himself and in 2011 in a collaboration with Break Science. An act that may have raised some eyebrows at first glance seemed to win over the entire crowd and create nothing but smiles in the end.
With temperatures now beginning to dip in the North Country on a night that felt more like mid-autumn than late summer, the last act on the Main Stage was also no stranger to this Upstate festival. Twiddle, a Vermont based band that seems to be making a slow and steady ascension to national notoriety, played at the original Backwoods Pondfest in 2007. Their Friday night set showcased the group’s lighthearted yet poignant songwriting that compliments a cohesive and infectious bed of music quite nicely.
This set was also where the communal atmosphere between different bands and their members really began to take shape as several notable sit ins highlighted the performance. First, Kevin Sabourin of Lucid returned to the stage to lend his guitar work to a full on “Fire on the Mountain” jam. Next, Scott Hannay of Mister F joined the Pondfest veterans and eagerly supplied his signature keyboard style on a performance of “Apples”. Lowell Wurster, Lucid’s percussionist and one of the driving forces behind the entire festival, also supplied some musical assistance with strong harmonica play on a cover of Johnny Cash’s “Folsom Prison Blues”.
Campers on Saturday awoke to a bright, sunny sky that never let up all day. Not only was the climate on this second and final day of music a beautiful one, but the music itself had a true Upstate New York feel to it seemingly from start to finish beginning with Capital Zen opening the festivities on the Main Stage. The Glens Falls based group helped serve as the day’s first wake up call as they rolled through a set of high octane originals that showcased the band’s clear hard rock influences while being mixed with Primus and Red Hot Chili Peppers covers. Scott Hannay, a former Zen member, once again lent his services with a spot on Les Claypool impression on a take of Primus’ “Tommy the Cat”.
Afterwards, the Upstate music train kept rolling along with a fine performance from Formula 5 in the Tent Stage. This is a group whose four members are from various areas in the Capital region who still seem to be getting their feet wet in the live music scene, but are clearly moving in the right direction. With a new album Edging on Catastrophe recently released. Formula 5 treated revelers under the tent to selections from that as well as impressive Jeff Beck and Deodato covers which show a group cohesion and technical proficiency well beyond the band’s years. One of the highlights was a slow and extended “2001” that had everyone within earshot nodding in approval.
Things then got decidedly bluegrassy on the Main Stage as afternoon sets from Hot Day at the Zoo and Cabinet served as a breather of sorts before the closing acts of the weekend. Clearly picking up on today’s musical theme, Hot Day at the Zoo even included a song called “Upstate Girl” in their set as well as a string version of “Cumberland Blues”.
Established Upstate act Conehead Buddha later played on the Tent Stage and while they may be based downstate in Brooklyn, Turkuaz was one of the first heavy hitters of the evening and delivered the type of powerhouse set that’s now expected from this ascending big band. Highlights included a standout version of “Bubba Slide”, an original, as well as crowd pleasing cover choices in an up tempo version of The Rolling Stones’ “Honky Tonk Women”, a funked out rendition of The Band’s “The Shape I’m In” and a set closer of The Beatles’ classic, “I’ve Got a Feeling”.
Another veteran Pondfest act then took over the reigns on the Main Stage as Spiritual Rez, playing for the seventh time here, led the crowd through a set of incredible music that had everyone singing and dancing along to this group signature reggae-funk hybrid of sound. Lead guitarist and vocalist Toft Willingham is a verifiable ball of energy and doubles as a legitimate comedic presence on stage. The entire band seemed locked in from start to finish and seemed to not only play but move in unison at parts. A frenetic large scale jam that included members of Turkuaz served as the crest of an impressive wave of music that was truly one of the highlights of the weekend.
The festival would not be complete, however, without one last set from Lucid to help close things out. The North Country natives took to the stage once more, this time the Main Stage, for another set of beloved classics and blues inspired covers. Wurster made sure to also take some time to thank those who helped throw this annual backwoods bash as well as the crowd. He later brought up “the best man he knows”, his father George, to play some harmonica in what has come to be a festival tradition, if not a staple.
With music now completed on the Main Stage, the last act of the weekend belonged to Albany’s Mister F who treated fans to hits from their recent release The F Stands Four in a set that may have been lacking in attendance due to the time slot but one that certainly didn’t lack the energy this band seems to emit in every live performance. Songs like “This One Goes to 11” and “Vocoder” were executed almost perfectly as the Upstate psychedelic rockers offered one last go round on the dance floor before the book on this year’s Backwoods Pondfest was finally closed.
With no music scheduled for Sunday, people were able to leave at their leisure on what turned out to be another day of gorgeous Upstate New York weather. Another chapter of this burgeoning music festival was now complete. Backwoods Pondfest may not be on the largest plot of land or offer the most extensive music lineup as some as other festivals, but with a beautiful, established home and a proven ability to present the very best in regional music, it’ll undoubtedly be a fixture on the summer festival circuit for years to come as it continues to grow in size and splendor.
Joined by opening act, The Bell Brigade, folk rocker Ray LaMontagne settled into a comfortable and soothing show at Red Rocks Amphitheater on August 7th. The house was packed but from the mellow tone you wouldn’t know it. Subdued but satisfied, the sold out crowd sat attentively allowing LaMontagne’s voice to lull them.
With nearly half of the set coming from his most recent album, Supernova, the concert was balanced with old and new. LaMontagne’s unmistakable raspy voice washed over the crowd like water combing over sand. The chill vibe was briefly broken when LaMontagne brought in some energy with “Repo Man”. He mixed in some fan favorites such as, “Jolene”. and “Trouble”, during which he broke into the tune, “Stand By Me”, to the crowds delight.
LaMontagne spoke to the Colorado crowd briefly saying, “Twelve years ago people thought I’d be a flash in the pan. That’s bullshit!”. He continued, “Love me or hate me, I ain’t going anywhere.”
Setlist: Lavender, She’s the One, For the Summer, Pick Up a Gun, Supernova, Airwaves, Ojai, Repo Man, Smashing, Burn, Trouble (with Stand By Me), Jolene, Like Rock & Roll and Radio, Meg White, Julia, God Willin’ and the Creek Don’t Rise
Albany’s newest place to grab a bite to eat and catch a great live show isn’t really that new at all. Parish Public House, formerly Red Square, has completely redone the whole establishment to make it a quaint southern style restaurant serving such Louisiana favorites as Boudin Balls, Alligator Bites, and of course the Po Boy. Don’t let the charming decor fool you though, the Parish still has a stage and some of the best live music around. Saturday night was no exception, as Squid Parade and Triumph: A Tribute to the Disco Biscuits, had the place jumping.
Squid Parade took the stage first with their eccentric style of the jamtronica sound. Zak Westbrooks guitar playing was spot on, soaring to heights only a special lot of musicians can reach. Straight away the Squids had the place vibing out to their fast paced wall sweating groove and this remained the aura throughout their set.
Being a tribute band comes with a certain stigma attached to it. Why don’t they just write their own music if they’re so good? Why wouldn’t they want to have their own identity? These questions are fair and reasonable, however in the case of Triumph these stigmas do not ring true. Featuring members of B.A Dario and Resident Frequency, original bands with their own songs, but once in awhile, this actually only being their third show as Triumph, they like to have fun and play tribute to one of the hottest bands around: The Disco Biscuits.
Not only did they play the music of the band, they were playing tribute to, they composed their jamming around the Biscuits as well. With dark and dirty beats from drummer/vocalist Brad Greene, taking the audience through a journey that seemingly was Bisco. At times having to look up on stage and realize it was Bryce Hughes on guitar, and not Jon Gutwillig. During the “Therapy” jam, many teases were thrown in, mostly by the keys of Aaron Nackoul and bassist John Kelly riffing on “Confrontation”, only to bring the jam into “Orchestra Theme”. This was impressive to say the least and the party was just getting started as the band told everyone they would be back for a second set. This set was indeed a tribute to Biscuits style of set writing. “Astronaut” was the foundation for the whole set, being thrown in with a plethora of other songs only to end the set as it began with “Astronaut.”
When you hear a tribute band is coming to town, and if you like the band they’re playing homage too, don’t just shrug it off and assume its going to be gaudy or hokey, because in the case of Triumph, you would’ve been disappointed if it was missed.
Setlist:
Set 1: Plan B>Helicopters>Spacebirdmatingcall, Therapy>Orchestra Theme>Therapy
Set 2: Astronaut>Cyclone>I-man, Bombs, Mr Don>Astronaut
E: M.E.M.P.H.I.S
Flint, Michigan metallers King 810 have released their first full length album Memoirs Of A Murderer released by Roadrunner Records. A band, who are no stranger to arrests and controversy. Machine Head’s Rob Flynn has praised this band for their balls to the wall violent ways – But does Memoirs Of A Murderer live up to expectations?
My immediate impression with opening track “Killem All” is that this band is a mix between hardcore and death metal; if that makes any sense. It’s very aggressive sounding with very violent lyrics. The album does maintain a consistent theme with the whole “I wanna kill you” attitude that is present in almost every song. This band sends a message that they have been around violence all their life and want to translate it using metal music.
The album has aggressive electric guitar sound until the fourth track where it briefly changes pace with an acoustic but haunting sounding song “Take It”. Then the next track goes heavy again with “Fat Around The Heart” by delivering the message that the band has been around so much violence and wants to tell the listener not to try to live that kind of lifestyle because you won’t make it. Vocalist David Gunn goes spoken-word with “Anatomy 1-2” which is a good change of pace so the album does not sound all the same.
“Eyes” is an impressive track. The bands lyrical style changes as well as musically and goes into a melodic direction showing that the band has depth.
“Desperate Lover” goes back to the heavy and violent direction. Anyone that has ever fantasized about killing an ex-lover would love this song. Moving forward, we get another heavy track with “Boogeymen” and another acoustic track with “Devil Don’t Cry” before we get another spoken word track with “Anatomy 1-3”. The rest of the album continues with the heavy tracks before it finally closes with acoustic closing track “State of Nature”.
Overall, a solid debut. Simple but catchy rifts throughout, very violent but memorable lyrics. This band is the next controversial band, expect them to ride the wave of bad publicity, but their talent can’t be overlooked.
Listen to him, and he will point out that he continues to be the best selling member of the original band when you compare each member’s solo work. He’s one of the best guitarists to ever walk the land. You need only a few fingers on your hand to name the rest of the company in that group: Jimi Hendrix, Jeff Beck, Jimmy Page, 
It’s no secret that Frehley had once sought other means to add a hop to his step. His career, his personal life, has been marred by years of substance abuse. But, as of 2014, Frehley has been sober for seven years. And, with the release of Space Invader, Frehley is already comparing this work with that of his first solo album from 1978 that reached platinum status.
You know how you often read music critics describe a song, or a band, as “arena rock,” and you’re not so sure what it means, so you go look it up in a dictionary? [Sorry. Too archaic of a term.] Wikipedia it? Right after the above definition you’ll find: See Also: Ace Frehley.