Firebrand Magazine Issue 22 - July by Firebrand's Rock&Metal Express

Issue 22 – July 2014

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Virgil & The Accelerators announce new "Army of headline dates in support of current studio album, ‘Running With The Dogs’. Three" album Prior to this tour, the Cambridge rockers will Virgil & The Accelerators are set to release a brand release a new single / video; titled ‘The Outlaw’ and new studio album “Army Of Three” on Monday 6th taken from the aforementioned album, this live fave October via Mystic Records. The band will support has been remixed by US producer Bob the release of the album with the single and Marlette (Rob Zombie, Airbourne, Black Stone accompanying promo video “All Night Long”. The Cherry, etc.), and will come with a previously new LP dovetails the band’s nationwide UK tour unreleased bonus track. which starts Monday 29th September at The 15-date ‘Second Bite’ tour kicks off at London’s The Borderline. the Think Tank in Newcastle on October 6th and Army Of Three is the band’s second studio finishes at theAudio in Brighton on October 23rd ; album produced by the legendary Chris support on all shows will be provided by groovy rock Tsangarides (Gary Moore, Thin Lizzy, Black Sabbath, ‘n’ rollers Buffalo Summer and Aussie party Judas Priest). The new album follows 2011’s rockers Massive, making their debut appearances critically acclaimed debut “The Radium” which on UK soil. claimed a Best Of Year spot in Classic Rock “We're absolutely stoked to be heading out magazine’s year round-up. The new album will be again in the UK,” says Treatment frontman Matt released on 180 gram vinyl, CD and digital download. Jones. “The first leg of the tour in February was so The band have just posted a new video on much fun that we thought we should do it all again! YouTube for Blow To The Head - one of the Opening for the likes ofAerosmith & ZZ Top has been powerhouse guitar-driven tracks from the amazing, but we’re excited to be planning a full set forthcoming album. for the autumn – and rest assured we’ll be taking things up another gear… and there might be one or two surprises! We’re delighted thatBuffalo Summer and Massive can join us, because we want each of the shows to be a full-on experience from beginning to end. A proper night of rock ‘n’ roll, no half-measures!” For new Treatment lead guitarist, German-born Fabian Dammers, this will be the first time he has toured the UK, having made his inaugural appearance at Download 2014… VATA bassist Jack Alexander Timmis recalls when everything was cut short just before the LP was completed. Says Timmis, “Towards the end of production, the album was suddenly put on unexpected hold. Before we returned to the studio to finish the album, Chris Tsangarides was diagnosed with Legionnaires disease. He was in intensive care for 3 months. He was lucky to come out of it alive.”

SOS Festival 2015 : first bands confirmed

Former-Iron Maiden Frontman Blaze Bayley To Play Exclusive "Silicon Messiah" 15th Anniversary Show At Sos Festival 2015. Other Bands Confirmed Include Nwobhm Heroes Avenger As Well As Black Whiskey, Fronted By Former-Xentrix Vocalist Simon Gordon. SOS Festival, in Radcliffe, North Manchester, adds a third day to it's 2015 schedule and proudly The Treatment Announce Second Leg Of ‘Running announces that former-Iron Maiden frontman Blaze With The Dogs’ Uk Headline Tour Supported By Bayley is to play an exclusive "Silicon Messiah" 15th New Single & Video Anniversary Show, headlining the Saturday night on the Dean Hocking Stage (main). "Silicon Messiah" is Having recently played to a bursting-at-the-seams tent at this year’s Download festival, part of a lengthy Blaze's iconic first post-Maiden album including such fan favourites as "Identity", "Stare At The Sun", "The run taking in major European events and key supports (Alter Bridge, Aerosmith, ZZ Top, etc.), The Brave", the title track and more. Also confirmed are the following.... Avenger, Treatment have confirmed a second run of UK Black Whiskey, Motherload, Die No More, Ten By

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Ten, as well as Wizz Acoustic from Belgium who will headline the Metal Nation Radio Acoustic Stage on Saturday. SOS is an indoor event presented by independent record label Rocksector Records and 2015 will be the 8th such event. Previous headliners include I Am I, Gun, Black Spiders, Heavens Basement, Absolva and Beholder. The organisers seek to deliver a mixture of Rocksector Records bands, together with UK and international artists, also supporting the Manchester rock and metal scene with a reasonable number of local bands. Most people seem to agree the recent 2014 event was the strongest yet. In 2015, SOS Festival takes place on 17th 19th July, and tickets which are already on-sale, represent outstanding value once again at Friday £5, Saturday £10, Sunday £10, or £15 for the full weekend. NWOBHM heroes Avenger have joined the Rocksector label just recently to soon release their first brand new material for many years, whilst London-based Black Whiskey and Motherload have similarly joined the label for new releases. Black Whiskey includes frontman Simon Gordon who fans will recognise from his former bands Xentrix and Hellfighter. Meanwhile, Die No More are Cumbrian-based thrash metallers who are set to make real waves with a full length debut album on Rocksector which will help keep the Metallica/ Testament/Megadeth fans happy. Wizz Acoustic is from Belgium and well-known to SOS audiences. He will headline the Metal Nation Radio Acoustic Stage on Saturday, whilst the excellent groove/grunge rockers Ten By Ten are the first of our Manchester area bands to be confirmed. The Dean Hocking Stage (main) is so-named after the late bassist of Rocksector band Nightvision - Dean's young life was tragically cut short in a serious car crash on 27th December 2012 and he is forever honoured and remembered by SOS Festival audiences. During the next few months a further 19 bands will ultimately be announced for the Dean Hocking Stage, whilst an additional 8 artists will be confirmed for the Metal Nation Radio Acoustic Stage.

Street on August 14 with support from blues rockers Little Brother Eli. Formed at Brighton’s Institute of Modern Music, the band includes Latvian singer Liva Steinberga (22), aided and abetted by guitarist Olie Trethewey (23), bassist Gordon Duncan (23), Jon Crampton (24) and drummer Harry Bland (22). Equal parts filthy blues riffs, monster rhythm and raw, but melodic hooks, these young guns have set a determined foot on the road to rock glory, honing their skills around London's gig circuit and tearing up venues like O2 Academy Islington, Big Red and the Intrepid Fox. Within the grooves of this self-titled debut you’ll hear shreds of their rock heroes AC/DC, Rage Against the Machine, Led Zeppelin, but it’s their bone crunching riffs and bottle shattering vocals that set them apart from the rest of the pack. With a respectful nod at the musical pedigree that influenced them, the band stamp their own authority on the scene by stepping outside the boundaries of mere classic rock traditions with their own original brand of heavy riff-based rock, evident on tracks like ‘Conclusion’, ‘Tekkers’ and the single ‘Ain’t Got No’. ‘Ain’t Got No’ the single will be available to download from all usual online retailers from Monday August 11. Pre-order the debut album ‘Black State Highway’ HERE. Voodoo Vegas become first band to play Rhineland -Palatinate Day Parade in Germany & release new live video for ‘Mary Jane’ Last weekend saw classic rock quintet Voodoo Vegas play at the Rhineland-Palatinate-Day Parade. Over 30,000 people lined the streets of Neuwied Germany, to see over 150 different acts perform on the 2 kilometer route. Voodoo Vegas were the first ever rock band to play the parade in its 31 year history. Voodoo Vegas were representing Rockfestival Rengsdorf, where they shared the stage with the likes of The Answer, and German metal kings ‘Rage’. The band has released this live footage from the parade.

Black State Highway Announce Debut Single Release And Album Launch Show On London’s Denmark Street UK hard rockers Black State Highway are set to release their single ‘Ain’t Got No’ on August 11 via Hear No Evil/Cherry Red Records. The single precedes the release of the band’s self-titled debut album on August 18. To celebrate, the band will play an album launch show at the Alley Cat venue in London’s legendary Denmark

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Lead singer Lawrence Case said about the parade, “This was one of the craziest and best gigs we’ve ever played, over 30,000 people saw us play, we had dudes dressed as Romans in front of us, and horses with Dalmatian spots behind us. A German Prime Minister saw us play, and we were playing on the back of a huge lorry. If that’s not awesome, I don’t know what is”. The Voodoo Vegas’ debut album ‘The Rise Of Jimmy Silver’ is out now. The band will be back in the UK next week, when they support NY rockers The Cringe at the following London show; Fri 8th August London, The Barfly.

Whitesnake) and bookended by two tracks of truly epic stature – ‘Open Up Your Eyes’ and the multiple-part ‘Cosmic Symphony’ – the album is every bit as breathtaking as the debut. "This is an album full of many layers," concludes guitarist Steve Morse. "The more you listen, the more you can hear. It’s an album to keep listening to." Rhino Bucket Frontman To Join Hellion As Rhythm Guitarist And Backing Vocalist On Upcoming Tour

L.A. based metal act Hellion have announced that Rhino Bucket front man, Georg Dolivo, will be joining Hellion as their rhythm guitarist and backing vocalist on Hellion’s upcoming North American “Karma’s A Flying Colors to release new album "Second Bitch” tour in October. Nature" “I am excited to be a part of what the new Flying Colors are set to release their highly Hellion is doing, I've always been a fan of Ann and her anticipated new album “Second Nature” on the incredible voice.” said Georg Dolivo in a recent Music Theories / Mascot Label Group in the UK and interview. “It’s especially great to be back working Europe on 29th September, followed by North again with Simon Wright. And having Scott Warren American release on 30th September. The album and Maxxxwell Carlisle in the band as well is an release will be followed by a tour with dates in Los added bonus!” Angeles, Chicago, Philadelphia, Barcelona, Spain, “We rehearsed over the weekend and the Tilberg, Frankfurt, Pratteln, London and Paris. band sounded heavy and tight. It was massive!” Combining the talents including Deep Purple/ continued Georg Dolivo. “I'm really looking forward to Dixie Dregs/ex-Kansas guitarist Steve Morse, being involved in Hellion as I think the band rocks.” drummer Mike Portnoy (Transatlantic, Winery Dogs, Rhino Bucket released two albums through ex-Dream Theater), Neal Morse (Transatlantic, Warner Brothers in the 1990s, followed by four Spock’s Beard and a prolific solo artist), bass more on Acetate Records. Georg Dolivo will player Dave LaRue (Dixie Dregs, Joe Satriani, Steve continue to write and record with Rhino Bucket. Vai and more) with a comparatively new talent, Hellion release their new five-song mini-LP singer/songwriter Casey McPherson, the band October 7th in the USA on New Renaissance mixed virtuoso music with melodic songwriting by Records and October 8th in the UK and Europe on crafting new-fashioned music the old-fashioned way. HNE/Cherry Red Records. Pre-orders for Hellion’s The music press acknowledged their e new CD can me made through Amazon.com ponymously titled debut album from “Flying HERE. Hellion is also offering a special pre-order Colors” among the most compelling releases of deal on Hellion’s “Karma’s A Bitch” fan-pack (which 2012. Classic Rock magazine hailed the band’s will be delivered before the tour starts) HERE. debut as "fearless", praising its "Journey-sized Hellion’s North American tour kicks off October choruses" and referencing artists as diverse as The 2nd in Los Angeles with the band’s first show and Beatles, Red Hot Chili Peppers, The Doors, Muse, record release party. and even Frank Sinatra. In late 2012, the band toured America and Europe, dazzling fans with Flying You could actually open up an entire Facebook Colors originals and selections from the catalogues profile based on things getting stuck in your teeth, of the five members. you’d probably get some very interesting This time the band opted to self-produce, responses! with Bill Evans, the man responsible for the concept You probably would, I think you might’ve hit on of Flying Colors, reprising his role as Executive something there Rick Producer and co-engineer. Besides offering a finely tuned set of ears, Evans would remix a track each time an amendment was made, before sending it onto each band member, allowing closer collaboration by the band. "There was no repudiation of producer Peter Collins," clarifies Evans, "but the guys had become a family and they wanted to try something different." Sporting stunning artwork from the legendary designer Hugh Syme (Rush, Aerosmith, Def Leppard,

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I’ve been a big fan for a very long time, in fact for about thirty years. I noticed, just to kick this this off, I’ve noticed that you’re making it big on the come back trail this year! Come back’s my middle name Rick, I’m always doing come backs! I don’t see any of it as come backs, I’ve never really totally gone away, I stopped making records in ’89 to do and I spent about nine years producing and writing for other people, then I started making my own records again in ’98 but on a completely different level and I’ve been doing that ever since and gigging so I’ve never really gone off the boil since then. So I’m doing a tour to commemorate the thirty years in the business, a solo acoustic tour.

Simon & Garfunkel, then I wanted to start getting into my own things. I went through the various sort of dodgy stages that you go through as a youth, I was a skinhead for a while so I used to listen to Slade and reggae. I was into rock... I saw Made in Japan and Deep Purple, Sabbath and that kinda thing. Alice Cooper I was mad about, David Bowie I was mad about, then I kind of started into Prog, early Genesis, I used to go and watch them all over the place and then I was in a fusion band for years doing Steely Dan, Weather Report… all over the shop really. So that’s why my music is quite confused probably, with the influences coming from all over the place.

When you look back at the 80’s there were a lot of bands doing a very similar thing and there wasn’t many people that actually stood out in their own right, so to speak. You were one of the guys that actually did stand out. Your voice was very, quite unique, what was going on was, everybody had to have a totally, happily tight voice. Well, I never from the outset considered myself a singer really. I ended up singing my own songs and I sort of learned how to sing in the process, so I never really knew what you were supposed to sound like and I just sort of sounded like me. Although, I do listen back to those records though and I do actually Well, thirty years in the business has, I presume, sound quite affected and there was a certain has gone exceedingly fast for you. mannerism that we all had, that we all shared in the In one respect, you think ‘well how did that happen?’ 80’s so it was all kind of quite sort of strident, it’s gone in a blink of an eye but on the other hand if almost self important, kind of like your voice was you asked me to remember something from 1984 saying something of greatness. I’d kinda struggle with it, so it obviously was a long time ago. Unfortunately, I’m still like that. It’s one of those things in those sort of days with the styles of Yeah, it was, luckily we have things like Wikipedia imagery and everything else, that sort of self nowadays so we can see what you got up to importance portrayed quite a grandiose scheme I’m always looking on there to find out who I am and to a lot of the bands that were out there and it what I’ve done, it’s fascinating stuff! actually helped fit the bill a bit I think it probably was an age as well when Going back to it, the first single you released was everybody was trying to change the world. We were 1983 wasn’t it? doing a lot of writing but lyrically it was all about the It was Sept ’83 I released ‘I Won’t Let The Sun Go big themes, saving this, saving that, saving the other Down On Me’ and it did respectfully in those days and there were a lot of other throws about it. for a first release, bearing in mind that the record Nowadays, I write songs about the little things, like companies back in those days used to stick with getting stuff caught in your teeth or whatever. Well, their artists and they sort of developed us over a I haven’t actually written a song about it. period of time so it got to number 47 and everybody Well, you should do was happy with that. The second one was out in That’s a good idea for my next song January of ’84 and that was ‘Wouldn’t it be Good’ and that’s when it all went a bit nuts. There is one thing I do have to blame you for It did certainly go nuts. What was your influences though. I’m sorry but we’re going to raise the with getting into music in the first place? Chesney Hawkes ?issue here. I believe you Well it was pretty much all over the place. My actually penned ‘The One and Only’ parents were very musical. My mum was a singer I did pen ‘The One and Only’. I didn’t pen it for and my dad was a flautist. There were kinda Chesney Hawkes When I stopped recording in ’89, records hanging about next to the radiogram. Very it was pretty much the first one out of the box and I eclectic bunch, from Lonnie Donegan to Mozart to stuck it on the shelf for a couple of years. Chesney’s Is there any chance to see you on something like the ‘Rewind’ festival at all? Yeah, I did three this year, I’m doing one of them, there’s a Rewind North that I’m doing. I’m also doing one called Rock the Moors or Let’s Rock 80’s. All the usual suspects, Wayne, Bonnie Cook we did a couple of weeks ago. I’m also doing one in Bristol very soon, so I still do that and I also get out with my band as well but I just thought it would be nice to do something a little more intimate for the thirty years, just to sort of connect with the people who have stayed with me over all these years.

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dad walked into Warner Chapple Music one day and said ‘we’re looking for a song for a movie’ that Ches is in with Roger Daltrey and we had that one placed and the rest is history Yes, it was unfortunate, it was a great song but the problem is it’s one of those songs that sticks in the back of your memory. It pops out and grabs you and won’t leave you alone It’s one of those annoying, won’t go away songs It’s like Nickelback’s ‘Rockstar’, it was a great track, until DFS got a hold of it and then it was on the TV every fifteen seconds, it just bombed the track and killed it Yeah, you can have too much of a good thing You certainly can. There’s one thing I’d like to ask you, obviously you’ve been in the industry for a very long time, how has it changed do you think? With the advent of modern technology. Has it been a benefit to the industry or a curse to it? It’s like anything, you can’t be a leadeye about this. It’s changed and you have to embrace it in whatever form it is. Technologically, obviously there’s some fantastic things here. I’m standing in front of a technological wonder as I speak to you. It’s a guitar processor called ‘Axe FX ‘which means I don’t have to lug massive amps about. I can make it sound like pretty much anything I want it to make it sound like. Plus the fact that the recording technology is brilliant and that anybody can sit in their bedroom and make a good sounding album or record but that’s also part of the problem, that anybody can sit in their bedroom and make a good sounding album. So there’s so much stuff out there, so much good stuff as well, it’s really confusing to know where to go to hear it. You only get a tiny, tiny percent that gets played on mass media and the radio and the result of technology is responsible for the wonderful MP3 and MP4 and for people not paying for music anymore, which ultimately is going to be a bad thing.

pitiful what you get off stream payments but that’s a conversation for when I’m feeling adventurous. Generally technology’s a great thing but it depends how you use it now, it’s as simple as how you deal with it and that is how it is.. Going back over time, I know this for a fact because I was actually there, you were at Live Aid Yep!!

It was one of the most incredible, well to me personally, one of the most incredible events in history. What did it feel like to be actually up Well yes, it’s a big sin. I personally work a lot in the PR industry as well and I really think that the there? only way that is going to change is when basically I personally and we were all very well aware of how the record companies start chucking money at it big it was and people probably would remember that gig for a long time after it happened. I was but the record companies seem to be about 25 aware that there was kind of some sort of years behind the times And they do, they plan it and it’s like they’ve gone to responsibility to get it right. It was terrifying, I have Spotify and said ‘Can we use all your catalogue and to say that, from the start. Just the fact that you not pay the artist for it and they’ve gone yes, alright didn’t know, you were walking onto stage completely blind. You didn’t know if your gear was going to be then’. Well hang on a minute, you’re just biting the on stage and how much of it was going to work. Or hand that feeds you now what you were going to be able to hear while you were trying to perform. Festivals are bad enough at It’s a bit of a shame really, my other half is a recording artist in her own right and I was having the best of times cos you don’t get a sound check, you just get on with it. But that was a particularly a look at her stream payments. It’s absolutely

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fraught one. It was on the edge of all the technologies available at the time I think. It’s a miracle more didn’t go wrong with it. Things like the stage was supposed to revolve but in the end there were people underneath it pushing it around because it didn’t work!

It’s quite frustrating really. There isn’t really a feeling. Obviously I wanted to be in that position. I was doing what I kind of dreamt about doing but you never actually get the feeling that you’ve done it. There’s no concrete thing to grab hold of and say yes I’ve arrived, I’ve done it. All you’re seeing is seeing your name at the top of the charts somewhere and you know it’s all going really well They had enough technology for a day, surely Well you’d think they’d be able to make the stage go but it’s a really kind of a difficult thing to grab hold of and enjoy. I wish I found a way of doing it or enjoying around but all the satellite stuff and all that going on, that was pretty amazing for the time it was it more or stopping and smelling the roses a bit conceived. It was a fantastic day, it was fantastic to more. It was all very hard pressure and a lot of be there and a great honour to have been there, it stress. I remember two years of a lot of work, a lot of excitement, a lot of fun and a lot of stress. All really was those things wrapped up in one really. In going there as a punter back in those days, it I can understand the stress part, with owning a was a fantastic thing to see plus for me personally, it was one of the last time I got to see radio station, two magazines and a PR company. Yes, I know about the stress. Freddie perform That was totally awesome. We all remember Queen And the bigger you get, you spend a huge amount of time being misrepresented or misunderstood or in that kind of setting don’t we, a massive stadium setting but in actual fact, that almost broke Queen. misquoted. Nobody really knows who you are at all They weren’t playing those size venues at all, at that so you’re basically, this famous person who doesn’t time. That kind of came after that when everybody exist. Only exists in the eyes of the media or the saw what Freddie was doing. It was extraordinary, I fans, lapping up the media was sitting in the Royal Box when they came on, It must be an incredible thing, the 80’s was more drinking Tony Hadley’s pint. It was obvious at the time that we were witnessing something pretty like a case of going on from the 60’s & the 70’s special, it really was. He gets on stage and starts where the bigger you are on the charts, the more dancing with the camera man. It was like he was important you’ve got some fans. These days, it’s saying to every other artist at that venue ‘look, this not so big unless you’re a manufactured band like is how you do it’ One Direction or something like that Yeah, it does seem to be that way actually. Seems There was no sort of argument with anybody in to be where all the money’s going on it, it’s like being this industry that Freddie was sort of ‘the’ front bet on the favourite all the time. All the money’s on man, as it was. It was a great sort of period in the certs. Put someone on the television first, make time. Your eighth album came out two years ago them famous and then start selling the records. That the way round to do it but that’s not the way didn’t it? round we did it. Yeah, It doesn’t sound much, does it? 30 years later and plenty of people with hundreds of albums out there but I don’t make records very often now. I No, it’s a bit of a shame that it’s all gone like that just make them when I feel like making them. It’s a actually. That and the Protool version of how to real luxury to be in that position. do music nowadays. It’s all tuned up to within an inch of it’s life. Well I think also if you actually make records Yeah, that’s certainly one of my bug hates but we all when you feel like you want to make them, it makes you put more effort into producing a more use that technology. I’m not blameless in that respect. I tune the odd vocal but it’s when it gets so polished sound processed that, case in point, I’m on my high horse It does and you’re not forcing anything, it’s just kind now. There was a James Taylor, Mary Chapin of you’re playing honest music and it’s just kind of Carpenter duet and it came on the radio. Two of the turned up and it wasn’t demanded to be written and finest voices you’ve ever heard in your entire life and it’s not like you’re doing it because you have to there were points in that song that I couldn’t figure out who the hell was singing. I didn’t know whether it Going back to the good old days, when you hit the was James or whether it was Mary. They were both charts, the highest point was number 2 wasn’t it? so processed and so tuned and stuck through the As an artist, yeah got as high as number 2 filters, it just didn’t sound like anybody at all. They sounded like robots. When you’re young and getting out there and you hit the charts at such a high position, what’s the I can appreciate that. I sort of look at it from a feeling that goes with that? different point, I’m not a musician to save my life

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money nowadays It’s one of the few ways you can get paid for writing music nowadays. So there’s that and plus at some point obviously, I’m going to start work on a new album and start thinking about the next couple of years That’ll be great to see you back. Just to remind the folks at home, you are doing a couple of these festivals like you said over the summer, which ones are you going to be doing? I’m doing ‘Let’s Rock Bristol’ and that’s this coming Sunday. I’m doing ‘Let’s Rock Leeds’ in a couple of weeks after that. I’m doing ‘Rewind Cheshire’, ‘Rewind North’, which is the end of August 20 miles down the road from me, I’ll be there. It’s been a great pleasure having you on the show Nik. Really has and wish you all the luck with that and we shall obviously keep on track with what’s happening with you Thankyou

but I look at it from a point that if I listen to a band, I expect them to deliver that sound live but when it’s Protooled up to buggery and you can’t tell, you get very, very disappointed when you go out and see that you can’t actually deliver it live Well I’ve got no objection to there being music that’s come through a recording studio and it is a certain way but it’s when the production people, the engineers are thinking they have to make a vocal sound like that because that’s the way things are at the moment when they’re perfectly good singers and just mash them up in the machine. What’s the point? It just takes all the humanity out of it It certainly does, there’s a conversation that I could keep on all night but I’m aware that we’re going to be running out of time in a few minutes. I’m not going to use the obvious line of ‘I’m not going to let the sun go down on you’ just yet but what’s going to be next for yourself? What are the plans now moving forward? Well in the immediate future, just have a few festivals to get out of the way this summer in this country and in Europe, Scandinavia. Then the tour in September, in between I’m writing bits and pieces of media music for a company that does music for television and stuff. That’s a classic departure for me, kind of a new discipline , quickly learning It seems the most popular way of generating

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River Rooms, Stourbridge, 9 July 2014 Supports: Lost Weekend, StopStop! Review and Photos by Reg Richardson 14

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speckled with a couple of covers to sing along to. This was also another opportunity to push their latest album, ‘Join the Party’, released in April this year by Metalopolis Records. The manic bass playing and whirligig performance of Jacob was tempered by the accomplished guitar playing of Vega but, on the other hand, complemented by the wild drumming of Danny Stix. If songs with titles like the title track ‘Join the Party’, ‘Toilet Party’ or ‘Love Machine’ leave you in any doubt about the philosophy of this bunch, go and see them; you’ll be left thoroughly entertained and in no doubt whatsoever about their outlook on life. Rage of Angels was created by Ged Rylands, the former keyboards whizz with northern hard rock outfit TEN and touring member of New York’s Tyketto. However, before this ensemble hit the stage we were to be entertained, and warmed up, by StopStop! and Lost Weekend.

Next up was Lost Weekend. This band has been around for the best part of 20 years and like Rage of Angels is signed to production company Escape Music Ltd. That’s not the only thing they share… keyboard player Irvin Parratt also plays keyboards for the Angels. The band has moved emphasis from a general AOR outlook to one that is more melodic and First up were StopStop!, a trio of complete nutters refined but no less engaging. With such a history the hailing from Barcelona but now firmly encamped choices of songs they could have played was large here in the UK. The band have attracted quite a but the focus was on their most recent album following since their arrival here a few years ago. ‘Evermore’. This performance came as a refreshing Their infectious and brash outlook to heavy rock alternative to the lunacy that preceded it but while probably isn’t everyone’s cup of tea but they exude ‘Evermore’ is a fine album I do prefer the AOR style energy with the on, and off, stage antics being led by of music the band has played in the past. The set bassist Jacob. Tonight they presented the small was pretty tight overall and well executed, a fitting audience with a much shorter set than they would prelude to the headliners. normally play which was a mix of original material

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Tonight’s Rage of Angels line-up comprised Ged Rylands on guitar along with another ex-Ten guitarist, Neil Fraser. Gavin Cooper provided the low notes, Joao Colaco hit the skins, Jason Morgan supplied lead vocals and then of course there was shared keyboardist Irvin Parratt. This line-up play straight down the line AOR and if you listen (not too hard) you can hear bits of Boston and Asia coming through. This was part of the Dreamworld Tour, a celebration of the 2013 album ‘Dreamworld’, and during the set and encore the band played every track from that album plus a couple of covers for good measure. Like Lost Weekend this bunch are not a ‘dynamic’ band on stage; instead they opt for letting the music, rather than their antics, do the talking and this stuff could talk the hind leg off a donkey! The set started with an intro, exactly where one should be, and I’d swear they nicked (or should I say sampled) the air-raid siren from Grand Funk Railroad’s ‘Paranoid’! The album was put together using a host of musicians but vocalist Jason Morgan does a fine job of putting his own stamp on things and bringing a level of consistency to the proceedings. That said, I do like the vocal style of Danny Vaughn (Tyketto), who provided vocals for the recorded versions of ‘Over and Over’ and ‘Spinnin’ Wheel’. Ged Rylands tended to stay out of the limelight letting Neil Fraser grab the audiences attention with some fabulous and twiddly guitar playing supported admirably by Joao Colaco and Gavin Cooper alongside the possibly overworked Irvin Parratt. Although Ged’s performance was decidedly understated his contribution and orchestration were tremendous, leading the band through the set quite masterfully. The audience wasn’t very big and the bands really deserved to have had a larger group of people to play to but those that were there appreciated every note that came from the barmy-army known as StopStop! right through to the AOR excellence of Rage of Angels, a varied and fine nights entertainment.

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Interviewed by Phil Schofield 18

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Over the years the members of Black Whiskey have been involved in genres as diverse as NWOBHM, Thrash Metal, Blues, Alt Rock and Prog Rock. But when Simon Gordon (Vocals, ex- Xentrix, Hellfighter) , Kev Ingles (Guitar, ex- 3 State Blues, Swampsnake), Mark T. Parkin (Bass, ex –Prezence, Stargazer) and Rich Bannister (Drums, ex -Nakedium) spoke about putting a band together the common ground was Classic Rock. After listening to the tracks from their current EP it came as no surprise that they would be Junes winners in the Firebrand Band of the Month Contest. I caught up with vocalist Simon Gordon to discuss the resurgence of “Heavy Rock” I wanted to ask you first of all, to give me a background as to Black Whiskey Right Ok I’ll try to keep it as short as possible then, but I moved down to London after the split of my last band which was Hellfighter. to just start looking for musicians in the area and the first guy I got in touch with, who I thought was musically talented was Kev (Ingles) the guitar player. He really wanted to really old fashioned rock music, stripped back blues, he’s a massive Gary Moore fan and all that sort of stuff. So I thought ,well ok then, cos I’d been listening to a lot of heavy...heavy metal for a long time now but I do remember all that stuff from when I was a lot younger. So I dug some of it out and had a listen and I thought, this is brilliant, it stills sounds great now. So I thought ok, I’ve got a few reference points here and so we put the band together and so we demo’d a few songs using drum loops and stuff. Then we got Mark on bass and Rich on drums after a bit of searching. We threw it all in the mix and it started coming together quite nicely then we wrote some more songs and that’s it really.

bit more, so we’re going to record an album later in the year. We’ve obviously being playing some tracks on the Firebrand shows from the EP that’s out and you say that you’re almost ready to go into the studio and record? Yeh, we did the EP and we’re going to do another five or six tracks, we’re going to go in in September remix the songs from the EP and add another five or six tracks onto that as well. We’re then going to remaster the whole lot and put it out as a full album since we signed a deal with Rocksector records, who are then going to put that out for us.

Right,so do you find that when you drill down into your music, that it’s hard to stylise it as anything other than good old fashioned rock or rock n ‘roll. Do you find that it’s intriguing to see that there’s resurgence in people going back retrospectively now, to some of the older bands, like Whitesnake or Free, your sort of more sort of blues influenced sound and that style seems to have taken more of prevalence over what’s been around in more So on a timescale when did you then then start recent years. What’s your take on that? gigging? From putting the band together how long Well, yes, its striking a chord again with people isn’t was it till you were performing as Black Whiskey? it. I completely understand it because I’ve been on From moving down to London I’d say it probably took the same journey myself. As I was in Xentrix in the just over a year, probably around fourteen or fifteen nineties and that was like a thrash band and we months. That’s not too bad considering I didn’t know were just trying to be heavier than everyone else. anyone down here, to find a whole band and right Because every band was trying to be heavier than some songs. everyone else. You’d tune your guitars down as low The first gig we did was to go and support Mick as they would go .If you could sing well that was Underwood who used to play in the Ian Gillan band probably a disadvantage, because you just needed to He was doing a thing with his own solo band even shout and sound as angry as possible. though it featured a lot of Gillan stuff, and we only Then when I moved onto Hellfighter, which was had about seven or so songs so we did all of them basically the same guys I’d been in Xentrix with, it and just about managed a support set. probably started the journey sort of backwards Since then we’ve done some more songs and through my record collection and through my own we’ve now got a full albums worth of material and a history and we started getting into sort of classic

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Priest , Maiden and the Scorpions as well as early thrash bands like Forbidden and things like that. So we moved back just appreciating what was good from that era and now with Black Whiskey I’ve gone even further back. It’s just that you get a bit bored of the escalation, arms race that there is, you know ….who can sing the heaviest, the fastest, who can be the most technical and stick as many t double bass drum beats into a song as possible. Eventually with those things, unless the bands extremely talented, then pro tools starts taking over and it’s not actually what the band plays. So it’s quite refreshing to go back to bands like Free, Purple & Zeppelin, UFO & MSG, Rainbow and Whitesnake and bands that I recall from when I was about ten, when I first started listening to all that sort of stuff. To me it sounds great, like listening to it through fresh ears, it’s not like the production or the mastering is nailed to the ceiling so it’s not ludicrously loud. There’s loads of dynamics in it and it just sounds organic. I’m starting to sound a bit pretentious here now but that’s what it sounds like to me. Because you know these guys in the day just turned up and rehearsed well, there wasn’t any pro tools or anything, you had to get it right. They rehearsed and knew their stuff inside out and put it

down and there was someone there to make sure it sounded good when they put it onto tape. So from your EP, the track “Hungry for Bullets” what’s the background? Because I listened to the song and I’m thinking first of all, with that kind of title, could fit quite nicely onto a Judas Priest album. Then I thought is it a song about cowboys? Or a song about eating bullets? So what is the background to that song? Well the title came separately to the lyrics really, the title owes a lot more to David Coverdale than to anybody else. It’s just a thinly veiled euphemism and I think the chorus is “I’m locked and loaded and she’s hungry for bullets.” It’s ridiculous really but the actual verses and the lyrics of the song itself was me just kind of getting quite excited when I moved to London and the big City, going out in these places. There’s just some kind of glamour thing about it and I just wrote a song about going out in the West End which to me seemed like swanky places. So it was just a bit of fun and then the chorus is just a complete rude euphemism. Do you find that when you’re out gigging in the south of England that the live scene musically has a bit of a divide as to what we’ve got in the

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northwest presently? I ask this because a lot of people when I’ve asked them about the gig scene is like locally there seems to be pockets where there is a lot of live stuff going on then, there seems to be vast wastelands with nothing. It’s difficult for me to say, because when I was in Hellfighter in Manchester, it wasn’t easy to get gigs. You could do the odd little pub gigs, as there’s little gems that stuck out where you could get a booking, but there is …. And it’s all over the country and it’s in London just as badly as everywhere else, this thing where people call themselves promoters who aren’t actually promoters. They take no risk, they just sort of say right, “we’ll put like five bands on, and I don’t really care what they sound like. Put them on and they can all bring ten mates each to keep the bar staff and the landlord happy. I won’t pay any of the bands and if they don’t bring anyone then it’s no big loss. “ But there’s no quality control so any old band can play, as long as they bring ten mates down and the promoter doesn’t actually promote or put his hand in his pocket or take any risk, they just leave it to the bands to do it. That’s all over at the moment and in London its happening on an industrial scale. We started trying to get some gigs for Black Whiskey and it was kind of like “yeh if you bring thirty people down then any one person after thirty people we’ll pay you one pound per person who comes in after that.” “But if you bring less than or up to thirty people we won’t pay you anything. “So it’s kind of ridiculous

you can’t drag people out, say on a Tuesday night, to London. It maybe works for some bands but it certainly not for me, so it’s a funny old thing the live scene. The good thing is that you’re sticking to your guns, in that, some of the venues seem to want a “tribute” band or an agreed set list of cover songs. Whereas if you say you play original songs, the venues become insistent that punters won’t come in to watch original material. My question is that if the venues give you a chance to play you own songs how is the average punter ever going to get educated in new music? Well that’s it, I’m sort of surprised that people still seem to quite watching that. You know, they go to a pub & the band starts kicking out All Right Now ,great song as it was , but you can have too much of a good thing and when every band does as much the same set it just gets a but old very quickly. In fact I had this online argument bizarrely with this “promoter” who was doing this “I’d like to put you on at this place in London on a Wednesday night, can you bring forty people?” So I said, no, I’m not interested and I thought he’d leave it at that, but he didn’t and he started saying “why don’t you think you can bring forty people down?” Eventually I had a bit of a rant with him via email saying “I don’t think you’re doing the right model here, you’ve got no quality control , your just putting any old bands on as long as they can bring people down. Then you’re wondering why people

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won’t come to any night your promoting because they turn up and there aren’t any good bands on its just a load of people who’ve brought their mates.“ So we had a gig at the Borderline that weekend coincidentally. supporting Four Wheel Drive and the “promoter” said see how you support set goes but I’ll bet no one will be interested in watching you and then give me a ring on Monday when you’re interested in doing a gig on my terms. So we went down to the Borderline, we played eight original songs and within about half a song people were on the dance floor, not quite jumping off the barriers or throwing themselves off the stage but digging what we were doing and it was affirming what I thought. Anways I didn’t get back to the guy Monday after all, so it all worked out quite well. So it’s great, when you get given a chance you play you original songs where people are receptive to that and they generally seem to warm to you.

And would you say, if you were speaking for the rest of the band, do they have any specific other bands they love? Thin Lizzy, Gary Moore, Montrose, remember them? Free, Zeppelin and I think Mark the bassist loves all the quite funky stuff as well. So when people want to check out Black Whiskey, what links can you recommend? Yes, www.facebook.com/BlackWhiskeyUK plus our website http://www.blackwhiskey.co.uk/ and if you take a look in there’s everything, links to soundcloud, a link to I tunes for the ep, a link to the record company so yes, everything’s there it’s our web hub!

Fantastic, well its been nice chatting with you Simon, well done on winning the band of month, I look forward to catching up and seeing you live and good luck with your recording towards the autumn. Yes September, were booked in, so the album will If I was to ask you who your musical influences are, probably be released probably in November followed not necessarily vocalist, who would you say you by a tour in December. We are really looking take your inspirations from? forward to the album, we’ve really got some strong Probably at the moment quite a lot of the older stuff, songs thank you. I would say UFO would be up there, Scorpions, Rainbow, Whitesnake and of course still Priest , Maiden and all the kind of metal bands as well that I used to love when I was a kid.

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Principle Club Theatre, Thessaloniki 7 July 2014 Supports: Sarissa Review by Katerina Feelk 26

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career to date, finishing dynamically with “Macedonian Army”. Then they thanked the audience and handed over to the main act of the evening. The audience unsurprisingly reciprocated with the warmest of applause. This is a band which could easily headline any concert outside Greece.

Monday has traditionally been regarded as a “difficult” day and is not recommended for live performances in Greece, particularly not in the middle of summer and more particularly not indoors! This “tradition” was well and truly broken by Warlord with their appearance in Thessaloniki. Their gig in Athens the previous day had been sold out well in advance. In Thessaloniki, the turnout was pretty good given the circumstances. The Principal Club Theater was fairly full but without the atmosphere being stifling.

After the necessary changes had been made, but without any significant delay, the moment arrived for Warlord to make their appearance. As soon as they emerged onto the stage the fans welcomed them with a rhythmic “Warlord” chant — a cry that was to be repeated several times during their act.

Unfortunately I didn’t have the honour of seeing them live at their concert last year, so I can’t draw any comparisons between their two appearances. What I can do is describe what I saw and felt for myself: Warlord sweeping us all up with their playing and their loyal fans idolising them at every turn; the instant response to all the exhortations of frontman Nicholas Leptos and to those of the Greek keyboardist Angelo Vafeiadis, whose joy was obvious from the first moment he set foot on the stage. As The concert was opened by the Thessaloniki band I’ve said, there were plenty of occasions when the SARISSA. And this was no coincidence. They are one name “Warlord” resounded through the auditorium, of the most historic and popular heavy metal bands with headbanging in all its glory and the fans singing in Greece, having been on the scene since 1985. along to every lyric of Warlord’s repertoire, proving The release of their first album created more impact that they have a large and stable fanbase here in than any other Greek band had managed to achieve Greece and at the same time encouraging the band before; and all that in a very difficult era for Greek members to carry on because, as Tsamis stated bands generally. They appeared on stage together recently, the fans are the main reason that Warlord with Demon, Ross The Boss and Accept. They are still performing. And he didn’t fail to thank those topped the bill at the Athens Power Metal Festival fans at the end of the night. (2000) and The Hammers VIII Festival in Athens (2013). They are currently seeking a label for the release of their new album. So the choice of Sarissa as opening act was neither accidental nor misguided. They were on stage at precisely the time indicated in the programme and had the fans on their feet from the very first moment. With their excellent bonding among themselves, their great communication with the audience, their experience born of all those years performing together, and their characteristic sense of humour, there was no flagging of interest for the full three quarters of an hour of their performance. Instrumentally they gave of their best, with Simeonidis urging the fans to join in with everything. One of the highlights of their act occurred when the guitarist’s string broke — a mere hitch that naturally can happen to anyone. Anyway, it was replaced in a flash and in the meantime Simeonidis narrated a brief review of the band’s career, enriched with a healthy dose of humour, and introduced us to the current line-up of Sarissa. Their setlist included songs spanning their entire

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Nicholas Leptos, as we saw in the gig, has proved to be the best choice that Tsamis could make in selecting a vocalist to rejuvenate the band. He gave the best possible interpretation of Warlord’s songs both vocally and with his strong on-stage presence. He seems to have worked on them and made them his own experiences, and was able to render them perfectly. His voice effortlessly reaches the high frequencies required in metal music without losing anything in the process. His selection, therefore, can in no way be regarded as random or overly hasty. Tsamis, totally focussed on his playing throughout the gig, calm and serene, but at the same time a figure of leadership with incredible solos, introduced “his” line-up to us in a way that he alone could. And beside him Paolo Viani, the other guitarist accompanying him; the two of them forming an just right on vocals too. An audio engineering extremely powerful duo. specialist, he tackled two sound problems at the beginning and near the end of the gig, which he What can anyone say about the behemoth who resolved immediately and which, as far as we answers to the name of Mark Zonder? Utterly noticed, were ultimately of minor importance. tireless throughout the entire concert, he simply strolled about the set. We bow to his greatness, as Towards the end Tsamis, visibly moved, thanked the he has proved his worth as a player many times fans with words that appeared to come from his over, so that whatever we might add would merely very soul. When the show was over and the band left amount to babble and repetition. the stage, the audience naturally hauled them back to play two more encores and to finally say goodbye, Of course we must not forget to mention Angelo at least for this season. I believe that, however many Vafeiadis, whose contribution on keyboards was encores they would have played, the fans would have crucial. I can’t talk details about his playing because asked for more. Patience, friends! Something tells it’s not my field, but what we heard was extremely me that Greece and its fans have become one of satisfying — and extremely Warlord. Angelo is one of Warlord’s favourite destinations. those musically educated Greek artists who deservedly represent our country abroad and make Warlord, we thank you and look forward to seeing us feel proud. Neither his enthusiasm nor his smile you again soon!!! wavered even for an instant, and he could quite easily be called the second frontman of the night, without demeaning the value of Nicholas Leptos in any way. Finally we turn to bassist Gary Wehrkamp, who was

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You Knew It Was Coming: Sharknado: The games, but at least we have our Sharknado,” he added. Video Game Out Now for iOS Mobile Action Adventure Developed For Cult Classic IP. Developer Other Ocean (Dark Void Zero, #IDARB, NBA Rush), in partnership with publisher Majesco Entertainment Company, today announced that Sharknado: The Video Game is now available for download on iOS. Based on the film sequel “Sharknado: The Second One,” players assume the lead role as Fin as they race to destroy a series of shark-infested tornadoes threatening New York City in this thrilling action-adventure game. The game is available in North America starting today for $2.99, in anticipation of the film’s Syfy premiere on July 30. “The Sharknado movies already exhibit a strange video game logic, so translating them into a work of interactive art wasn’t much of a challenge,” said Sharknado: The Video Game Director Frank Cifaldi. “We still have a soft spot for the licensed games of our childhoods, the ones that took a lot of strange liberties in the name of fun, and I think we’ve succeeded in bringing that feeling to the 21st century.” “We still haven’t seen the ‘Citizen Kane’ of video

In Sharknado: The Video Game, players will:

- Run through the streets of Manhattan wielding a broadsword - Bounce off of the backs of tiger sharks to reach higher ground - Feed buckets of fish to angry sharks to avoid dyinh - Surf New York’s flooded avenues, avoiding hammerhead stampedes - Collect official Sharknado trading cards - Fly into the heart of the sharknado clutching tightly to a chainsaw - Learn valuable lessons about sharks...and themselves To learn more about Sharknado: The Video Game visit: www.sharknadogame.com Download available for $2.99 https:// itunes.apple.com/us/app/sharknado-the-videogame/id894911633

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Let there be shadow Sabotage, spies, diplomacy and new colonization tools in a brand new expansion. “Be subtle! Be subtle! And use your spies for every kind of business” (The Art of War, by Sun Tzu) Praised for the quality of its AI “Pandora offers a stiff challenge – Digitally Downloaded”, its unique and lively world “This world is vast and a lot of fun – Mouse’n’Joypad”, and its neat mechanics and streamlined UI “It was easy to pick up and play – Chalgyr”, Pandora: First Contact had lot to offer to 4X fans at its release, late 2013. Thanks to patches and a free expansion, the game has become even deeper and more entertaining. Now Proxy-Studios wants to transform Pandora into a darker and secret battlefield; a place where espionage and diplomacy can prevail! With Eclipse of Nashira, new dangers and opportunities enter the world of Pandora. A new faction shows its face, talking of peace and friendship while their spies operate behind enemy lines. Nothing is what it seems anymore, as agents conduct covert warfare of espionage and sabotage, inciting revolts and stealing technologies. At the same time, another alien species native to the planet has appeared, lurking in the shadows. In order to overcome this new alien menace, the different factions start to expand beyond the planet's landmass to generate more resources, opening up a new frontier. To deal with all of these unfamiliar threats and opportunities, Pandora will be seen in a new light and players will have to develop a whole array of new strategies to maintain dominance over the planet. Enjoy the sun while it shines, because this long eclipse is scheduled for later this year! Get more information on Pandora – Eclipse of Nashira from its official product page HERE.

Players Face Mounting Peril in Guild Wars 2, as an Elder Dragon’s Reach Grows Second season of Living World heats up with ‘The Dragon’s Reach: Part 1’, where Tyria’s races must unite to face their greatest threat. NCSOFT and ArenaNet publisher and developer of the acclaimed Guild Wars franchise, today released “The Dragon’s Reach: Part 1”, the newest update to the ongoing saga in the Living World ofGuild Wars 2. The third episode in this second season of Living World sees the whole of Tyria threatened by the Elder Dragon Mordremoth. Attacks by Mordremoth’s minions have stretched ever-farther, from the arid Maguuma wastes to the Timberline Falls and the heart of Kryta. Now, in “The Dragon’s Reach: Part 1”, all of Tyria must come to understand this dire threat. Players have taken on a central role as heroes who hold the fate of Tyria in their hands. They’re among those who have come to recognise the enormity of

Mordremoth’s danger, and now they must work with new and old allies to unite the world’s races against it. · The Call Goes Out The races of Tyria will need to be convinced that Mordremoth’s might is the gravest threat facing them. Each race has its own concerns, from encroaching ghosts and dragon minions to mysterious magical anomalies. It’ll take determination and some daring acts to persuade the world’s leaders to put the greater good above their own troubles. · Corruption Spreads Mordremoth’s corruptive power is spreading. The lethal vine attacks on Concordia and Fort Salma are not the extent of the dragon’s danger. Now the threat is making itself felt in the far reaches of Ascalon. The charr in the Iron Marches have witnessed an outbreak of Mordremoth’s corruptive power, and they’re in need of your aid! Reports are coming in of more and more entangled waypoints – will Taimi be able to set them to rights? · Story Journal Log in today to unlock free, permanent access to the story of The Dragon’s Reach: Part 1! Once you’ve completed the episode, you’ll be able to replay it through the new Story Journal feature and push yourself to complete ultra-challenging achievements. · Reap Your Rewards In addition to continued access to Dry Top rewards like Ambrite and Zephyrite Lockpicks, this episode brings more brand-new rewards! Begin construction of a new back item which will grow and change as your adventures continue in Episodes 3 and 4, and search through Buried Locked Chests for a chance at one of three new Kites! The Ventari Follower, Prosperity Mine, and Crystal Shard Kite toys will grant you increased movement speed while carrying them. The Living World has given Guild Wars 2 players a regular cadence of new game content delivered through seasons, similar to a television series. Players also now have access to DVR-like functionality with the Story Journal, a feature that gives them the ability to save and revisit each new episode they log into to build a growing library of the game’s endless storyline. ArenaNet has released more than two dozen Living World updates, with each release introducing new story, characters and game play that expand on the rich lore of the Guild Wars universe . All of the content is playable free of charge, part of the studio’s global business model for Guild Wars 2 as a one-time purchase MMO game for PC with no subscription fee. For more details onGuild Wars 2 and its releases, please visit www.guildwars2.com.

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by Youzu Interactive. You are in command of a team of angels! Train them, prepare them for combat in the massive PvP arenas, craft items for them to increase their battle prowess. Create the details of you character with many different types of Customizable details as well as clothing and accessories as well as your mount. Use these details to assist you in leveling up your character in order for you to be victorious. The story takes place in a mythical lands of Etheria where angels used to rule. But now, this League of Angels that protects the world from darkness is under threat from powerful forces of evil. The Dark Lord has declared the end of times for gods and kingdom of light. These angels, who used to protect humanity from the powers of darkness, were helpless when these vile powers managed to steal the Seal of Life. This Seal was the source of all the angels’ powers and without it, these powers are lost and the dark powers have taken control of the world. It is left to humanity to rise up and help the angels gain back their power.

Massively multiplayer story game Cloud Chamber to launch next week - new trailer released Due for global release on Thursday 7th August 2014. PC version available on Steam and other digital distributors for $19.99 Investigate North's story-based MMO, Cloud Chamber, is ready for global launch. Coming out next Thursday 7th August, its innovative mix of story explanation and collaborative investigation have been called everything from 'peculiar, interesting and original' (Rock, Paper, Shotgun), 'Reddit: the Game, only with murder... and possibly aliens' (Kotaku) and 'an incredibly exciting new avenue for games' (Gameplay Magazine). To celebrate, the developers have released a new launch trailer.

Job Class Introduction: Build your team from two different classes and choose your gender as well for a total of four different possible heroes to recruit. Through your choices in the game, it could be possible to be able to recruit up to 5 heroes in your party. Recruiting these heroes is easy. First you need to draw cards to obtain a valuable HeroSoul, then exchange a HeroSoul for the Hero of your choice! Cloud Chamber - which won plaudits in the Scandinavian press and a 'Game of the Year' award during its Danish beta phase last year - casts players as users tracking confidential information through dreamily-rendered data landscapes. Their aim: to piece together a tale of murder, betrayal, electronica and astrophysics. The game follows the investigations of young scientist Kathleen Petersen into the Petersen Institute, one of Europe's most prestigious scientific centres. While investigating the suspicious circumstances of her mother's death there, Kathleen uncovers a skein of astonishing revelations about her father, the Institute and the existence of communicative rhythms in the fabric of space. Soon she's faced with an impossible choice between loyalty to her family and a duty to pass on what seems to be a mysterious warning to mankind. Come next week, Cloud Chamber will be available on PC through Steam and other digital distribution channels.

Featured System : Team up with your friends to form powerful guilds or play head to head against one another! League of Angels features cross-server PvP, so you won’t have to create a new character just to play with your buddy who happens to be on a different server. UUZU has paid special attention to PvP, so there are many different types of battles so you can always enjoy something new— enjoy 3v3 arena battles, 5v5 King of the Hill, and 10v10 Capture the Flag. Along the way, players will have a chance to explore and conquer challenging dungeons, as well as partake in a variety of fun mini-games, from Bejeweled style puzzlers to arcade shooters. Meanwhile, ever-present PvP arenas give adventurers plenty of opportunity to duke it out for high rewards and honors.

League of Angels (ValcoJoy) Introduction Game Name : League of Angels Game Type : MMORPG Game Genre : Warfare Game Payment : Free Publisher : ValcoJoy Game Brief Introduction : League of Angels is an excitedly new MMoRPG developed

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Houston - Relaunch II Record Label: Livewire/Cargo Records

8/10 Released: 8 September 2014

Highlight of the album: Donâ&#x20AC;&#x2122;t Look Back Website: www.facebook.com/Houstonsweden Reviewer: Stephen Brophy

Following on from 2011's Relaunch the band Houston are now back with the appropriately titled Relaunch II. What we are served up here is a combination of four new songs and six covers of some very different song types, and some either very brave or crazy choices, it's certainly not every Hard Rock band that would choose to cover a Lady Gaga song. Brave or just plain crazy, one thing that I really do like about the covers section of the album is that they haven't gone for the same tried and tested songs that have been done to death, it's great that they haven't picked "The Voice" to do when they have gone for a John Farnham , or "Jessie's Girl" when doing a Rick Springfield track, that's what makes this a little bit more interesting. Personally I'm not a huge fan of either cover albums or albums with a lot of covers on them, but that might be to do with the fact that a lot of these in recent years have been sloppy and just thrown together. So how do Houston do, very well overall I have to say, over just 6 songs they manage to throw in a huge variety of genres, paying homage to some of the influences that got the band into what they do. This album sees the Hank Erix and Ricky Delain joined by some new musicians, but the strong spine of Hank and Ricky are the heart of this band, and Hank's vocals throughout are just so strong. We start off with a cover of John Farnham's "Justice For One" which is an excellent track, and they more than do it justice here, if you will pardon the pun, from the off you can see that they haven't just thrown this together, it's not just a copy, as with the other tracks Houston have put their own spin on these tracks without losing their essence. Next up we have an excellent track called "Love Is Blind", originally by John O'Banion, Houston have added a bit of extra energy and power to the original and this is definitely an example of how a band can do a cover song and make a few changes and although it's slightly different to the original now it's easily as good. Being a

big Rick Springfield fan I'm delighted that when choosing one of his songs to take on they have gone for "Souls" a terrific song, and can they pull this one off ? The answer is yes, sticking closer to the original, they put passion into the song, and this is probably my favourite of the covers on this album, it's powerful, it's recognisable and still it's more than just a copy. Of the other cover songs, I'm not sure they really work for me, but that's not to say they aren't really well done, "Counting Stars" (One Republic) is pretty much their signature song, and although Hank and Victor do admirably singing it and musically it's fine, it just doesn't get to me the same way the others do, and the same has to be said for me with "Cruise" (Florida Georgia Line) and "Do What You Want" (Lady Gaga) which features additional vocals from Lizette Von Panajott, I think it's just the songs themselves don't do anything for me, but it definitely shows the ability of the band to try their hand at unfamiliar territory, and as an introduction to the band with a new lineup it's been a positive experiment overall. So onto the new Houston tracks, we get four in total, and the first "Don't Look Back" is really excellent, a really classic sound, loving the keyboards on this one, along with some excellent guitar work, if this is a sign of what's to come on the next full length we are in for a belter. "Our Love" has the feel of an anthem, but doesn't quite hit full flow, still a good track, but missing a little additional power that would bring it to another level. Next up is "Downtown" and this is another classy slab of hard rock with a bit of a pop edge, the Houston guys do this kind of stuff as good as anyone out there. Finally "Standing On The Moon" rounds off the album, and this is another excellent track, in equal parts vocals, keys, there's no massive guitar solos here, but there don't need to be here, it's a beautiful song and one that I think would be massive acoustically.

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Stryper - Live at the Whiskey A Go Go Record Label: Frontiers Records

8/10

Released: 23 September 2014

Highlight of the album: Jesus Is Just Alright Website: www.stryper.com Reviewer: Rob Birtley

Few bands can truly be described as Ground Breaking and Iconic but Stryper do fall into that category. Their music is a pioneering blend of Metal and Glam Rock fuelled with a Christian sensibility that has often been emulated but seldom bettered. The venue for this Live recording is also Iconic. Located on Hollywood’s Sunset Strip the Whiskey a Go Go has hosted most of Rock’s Royalty and is known all over the world. So I was more than interested in what this combination of band and venue would sound like.

with the Devil, almost a ballad in content driven along by fine drumming that just won’t quit. More than a Man is also off the 1986 release Hell to Pay and sees the band picking up the tempo in an almost Europe like way. Fine harmonies on this track like the whole album, the main vocal is outstanding and this is a song that proves even at 51 Michael Sweet has not lost any of his range right down to the final ultra-high pitched scream ending. I have to say if there is a signature Stryper song then it has to be The Rock that Makes me Roll from the Soldiers Under Command album The Stryper line up on this release of Michael Sweet: which comes next. It has all the trademark Stryper Lead Vocals / Lead Guitar, Robert Sweet: Drums, Oz ingredients and the band Rock the Hell out of it on this Fox: Guitar / Vocals and Timothy Gaines: Bass/Vocals. recording. No More Hell to Pay the title track off the This is the current personnel, regarded by many as the latest album shows the band are in a great place at strongest in the bands history which runs all the way the moment and motors along in thumping metal back to 1975 and is the players responsible for most mode. Jesus is just alright is also off the new album. It of the band’s success. has a Blues vibe that works so well live with stunning opening harmonies and once again Sweet sings up a The album opens with Legacy from taken from the storm, the guitar duet just adds to the wall of sound. 2013 release No More Hell to Pay. This lively opener really gets the crowd going. Next up is Marching into To close Stryper deliver a fine live performance. Having Battle also from the last album. Influences of Judas the confidence to open with material from the new Priest and Ozzy era Sabbath abound and the song is album but they still pack in the Hits the Faithfull would powered along with a huge Bass Line Bill Ward would want to hear. The recording well it’s true to say it have been proud of. Next comes You Know What to captures the atmosphere of a club gig to a tee you can Do First heard on the 1984 EP The Yellow and Black almost feel the crowd. The bands as ever delivering the Attack and the crowd warms as they sing along on the goods live. I’m not saying this album hasn’t had the chorus in grand style. The bands harmonies and the advantage of post-production studio work what live guitar solo remind you what a Great outfit these guys album hasn’t? I am saying the tweaking has been are live. This is followed by the opening track from the minimal and doesn’t spoil the overall effect by looking same EP Loud and Clear. This seamlessly slides into for an artificial perfection. I have always thought the Reach Out from the 1985 album Soldiers Under test of Live album is after listening to it would you have Command which is another song used as an liked to be at the gig. Well this is one I would have opportunity for crowd participation and sees the band cheerfully bought a ticket for. Stryper fans will love this heading in a more 80’s Melodic vain after the opening release and I have to say I more than kind of like it. Metal assault. This change of mood continues with Calling on You a track from the 1986 release To Hell

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Tarja - Left In The Dark Record Label: Edel

8/10 Released: 4 July 2014

Highlight of the album: Never Enough Website: www.tarjaturunen.com Reviewer: Phil Kane

Ah, Tarja Turunen; the festival circuit valkyrae, the modern day Brunhilde, the queen of the Wagnerian rock vocal, the thinking metal head’s hot totty. Y'all should be at least aware of this Finish beauty by now so we'll forego the history preamble dance, but suffice to say not only does she possess a whacking great voice with looks to match, she also has a bit of a business head on her shoulders, and to prove the point we have this refreshingly intriguing little platter.

this there is more symphonic bang for yer bucks on this little compilation than most fully realised symphonic metal albums. Check out ‘Deliverance’ and compare it to the chunky ‘Lucid Dreamer’; a better example of how good a track can sound when a full on orchestra is used as opposed to synths you'll be hard pressed to find. Or there’s the interesting hint of industrial vying with the cheeky Bolero lift on ‘Victim Of Ritual’. ‘Never Enough’ could easily be The Killers with tits and ‘Neverlight’ has solid ‘Left In The Dark’ is a bit of a master stroke. The album gunmetal grunt. The beautiful ‘Medusa’ with its Duduk was originally only available as part of a ticket bundle intro and the stripped back ‘Until Silence’ are serenely for her “Colours In The Road Tour 2014”, er, tour, and outstanding. So, though the quality isn't quite up Tarja's even then only in certain countries. Using 2013s full blown standard, nor as consistent, it hasn't a duff “Colours In The Dark” album as a template, it contains track on it. rarities, B-Sides, and demos, instrumentals and a couple of acoustic radio sessions, offering a peak at The beauty of ‘Left In The Dark’ is the accessibility. Yes, the creative minutiae of its parent album, the tracks on the tracks are essentially leftovers and ‘Left In The Dark’, with the exception of ‘Into The Sun’, works-in-progress, but the overall quality is such that all having got a run out on ‘Colours In The Dark’ in one any fickle farty will find something to tickle their fancy, form or another. It's a shame Tarja didn't throw in an and for the serious student of rock it offers an alternate take on Peter Gabriel’s ‘Darkness’ to make it interesting insight into the evolution and compositional a full house. On top of that, it came as a digi-pak that process of the big rock ditty. I haven't had the pleasure included liner notes written by Tarja giving her personal of hearing the well received parent album so insights into her work. The booklet also has artwork comparisons are not possible, they would be that was chosen from fan submissions, still has as far redundant anyway, but as soon as my pocket money as I can make out. In a world where it is proving more comes through again that little omission shall be and more difficult for bands to turn a penny, short of remedied pretty damn sharpish. allowing audiences to buy the CD of the gig they've just witnessed (Black Crowes, Quo for instance), this is the next best thing. However, as a concert memento its reach was pretty limited so Tarja has now released it as an official album in its own right (that's not going to piss people off if they thought it was meant to be a tour exclusive, is it?), at least she has resisted the urge to released it as a 'special edition' add-on to a cynical re-release of 'Colours...', so top marks to her. If the likes of Wagner, Sibelius and Beethoven, or any other of those heavy duty Teutonic composers were still knocking around, this is probably what they would sound like; big, panoramic, cinematic rock that beats its mighty sword on its breast plate, singing chants to the northern gods in their mountain homes. Throw in some eastern promise and you've got a bit of a symphonic metal master class, despite the out take nature of the beast. The inconsistent production values are going to have rivet counters shouting foul, and yes, some of the tracks do sound a bit undernourished and flat, yet despite

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Ace Frehley - Space Invader Record Label: SPV/Steamhammer

7/10 Released: 19 August 2014

Highlight of the album: Inside The Vortex Website: www.acefrehley.com Reviewer: Stephen Brophy

It's been 5 years since Ace's last solo album, Anomaly, which was a very solid album. Since then musically there hasn't been much news from Ace, so as always hoping that a new release will be of a high standard with plenty of guitar action. At the end of the day with his vocal delivery and a lot of the time with the sound that hasn't changed in 30 years, he's recognisable and isn't what you would call a technical guitarist, Ace plays how he feels and that's always the best way for me. So what does Space Invader throw at us, well for starters the theme is the same, keeping up the Space ideals which is great, it's what we know and what worked well on Anomaly. The album itself has 11 new tracks and quite oddly a cover of Steve Miller's "The Joker", and one surprise is the cover where Ace brought in Ken Kelly to create a space age cover, Ken had previously worked on the Destroyer and Love Gun covers for Kiss, and Space Invader has the clean lines that they both had. The album kicks of with the title track "Space Invader" which I think sets the scene for what's the follow, Frehley fans are going to like this, it's got that signature guitar sound, plenty of fretboard work, everything you'd expect. "Gimme A Feelin" is the lead track off the album and to me it could be put back into the late 70's or early 80's and fit in with that kind of work. and that of course is what can happen when you have such a

recognisable tone and sound, but it's not a bad thing, however if you are looking for a huge change in style, or a more modern sounding Ace album I think you have the wrong place. but why would you move away from a style you are known the world over for. As with any of Frehley's albums the star here is the guitar work, it's all over this album, for me the stand out tracks are "Change", "Reckless" and the excellent "Into The Vortex" which is just a heavy riff right from the off with some excellent solos right through it. There are some definite dips on the album too, the track "Toys" just doesn't seem to go anywhere, and "Every Girl Wants" doesn't seem to go anywhere, but has some nice playing on it too, I'm guessing that sticking a cover of "The Joker" on the album seemed like a good idea at the time, but I honestly can't see where it's added anything at all, it's not like it hasn't been covered a million times before, and it's not anything here but a straightforward cover version, the eleven original tracks for the album would have been more than adequate here. Hopefully Ace will expand on the good work that's on this album and not take 5 years to produce a follow up as there's still great work to come from the man, it's a little sporadic here, but there is definitely life in the old dog yet.

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Helix - Bastards Of The Blues Record Label: Perris Records

8/10 Released: 19 May 2014

Highlight of the album: Metal At Midnight Website: www.facebook.com/pages/Bastard-Of-The-Blues/509884969123122 Reviewer: Aaron Price

Helix one of the most recognizable Canadian bands to date, featuring well known vocalist Brian Vallmer are back for yet another album, 'Bastards Of The Blues,' and after multiple decades or music, touring and being rewarded with gold and platinum records they're still giving it their all. Helix are still one of the forefront bands in this day in age for Heavy Metal with powerful tracks like 'Metal At Midnight' that show why they have survived so many years of abuse in this world. The instrumentals throughout the album are still as strong as they were 10-20 years ago, vocals are still just as powerful and the band doesn't seem to be slowing down at all. 'Bastards Of The Blues' comes 3 years after their last album and plenty of fans will be glad to hear that the wait was more than worth it. With sounds present from each and every era of Helix, this album brings to view how dominant the grandfathers of Canadian Metal are still, and possible even show that the Canadians aren't as nice as you think we are! Strong all the way through, this album is a cover to cover classic Helix album that any new or old fan

should enjoy, and if you do so you can catch them almost no matter where you are since they're touring a lot to support the album. Check it out, Helix 'Bastards Of The Blues' Canadian Metal legends back on the radio!

Ginger St James& The Grinders - Diesel & Peas Record Label: Fletcher Records

9/10

Released: 8 September 2014

Highlight of the album: Please Mr Driver Website: http://www.gingerstjames.com/ Reviewer: Tony Corner

Right from the off Diesel And Peas, the first full length album from Canadian Singer/Songwriter and guitarist Ginger St James and her band The Grinders grips with an intensity that doesn’t let up for the entire 11 songs on this self-release.

put it straight back on repeat and start again at the beginning! The sign of a great album and this one certainly puts a huge smile on my face and leaves me with a genuine feeling of happiness and well-being every time I play it.

Backed by an incredibly tight band, led by the super talented guitarist Snow-Heel Slim who conjures up some very memorable and tight riffs and lead licks, the Grinders provide an excellent soundscape for Ginger’s sweet, sassy and sexy vocals to shine throughout. Her vocals absolutely stand out and are instantly recognisable; from a reworking of one of her first songs Please Mr Driver through to new tracks like Zipper, My Honey, Country Bumpkin, Furious and Lonely Cryin’ Blues, all stand out tracks for me.

Ginger has a very unique sound that although rooted in 1950’s, rockabilly, country and rock, there are also other influences that creep in at times, even from the 1920’s! I can’t sing the praises of this album enough, it’s been a long wait but boy was it worth it!

Although the album has 11 tracks, two of which are instrumental, Ginger has a habit of writing short but incredibly sweet songs. This means that the album seems to fly past so quickly, I find it impossible not to

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Chicago - Now (Chicago XXXVI) Record Label: Frontiers Records

6/10 Released: 4 July 2014

Highlight of the album: Love Lives On Website: www.chicago-now.com Reviewer: Stephen Brophy

Chicago hardly need an introduction, and you can tell by the album name that this is not their debut album, 36 is not quite the number of studio releases, but most of their albums do contain numbers in them and this is a band with a massive history and legacy, though probably still best remembered for some massive ballads "Hard To Say I'm Sorry/Get Away", "You're The Inspiration" and "Hard Habit To Break", all of which were massive hits for the band during the era with Peter Cetera and Bill Champlin as members of the band. So what do Chicago sound like in 2014, and does this new album come up to the same levels as the earlier releases? Ok, well it's not Chicago from the 70's and 80's, but why would you expect it to be, this is a different band in a different era. There is a fair bit of soul in here, which personally I like, but on the whole something is missing, it's all just a bit on the safe side, a little stayed, definitely not bad but maybe missing that little something in the construction, there isn't the excitement you might expect from seasoned pros. The track America sums this up perfectly for me, it's a bit of a plodding one paced song and doesn't contain the punch to lift it out of the ordinary, and it being a lead off track for the album possibly turned a number of listeners off straight away. This isn't the case for the whole album

of course, the opening track "Now" for example is a really nice opener, but there is to my ears an uneven flow to the whole thing, it moves sideways and backwards, sadly not capturing enough of the imagination as we move along. High points are tracks like the lovely ballad "Love Lives On" and "Something's Coming, I Know" which form a strong middle section, but this gets lost again until we hit "Nice Girl" which again is a decent track but nothing that would really get the heart racing. In and around those songs there isn't anything to me that sounds much more than filler, maybe I'm just not getting the vibe they are trying to send out, so let me know what I am missing if this is the case. So for those looking for something magical, well I'm afraid it's just not here, but they are definitely trying to achieve it, just because it doesn't quite hit the spot this time doesn't mean they won't get there with album XXXVII, still a band with tonnes of talent and a classy sound, I still believe there is another big release in them, let's not write them off just because the inspiration hasn't matched the end result on this one. Sadly this album for me isn't going to be a big hit or drag in a line of new fans.

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