OTEP's Final Studio Album Delivers

Check out my review of the new and last studio for OTEP called "Hydra". It's really going to catch some people off guard this time around.

http://www.rockrevoltmagazine.com/album-review-otep-hydra/

Sister Sin Prepare to Invade the US

Sweden and heavy metal are not always synonymous with each other. If you ask the average person what’s the first thing that comes to mind when they hear Sweden, they probably won’t mention metal. Sister Sin set out back in 2002 to change all of that. They were determined to rule the world with their old school style of 80s influenced metal and nothing would stop them, especially preconceived notions and stereotypes.

The band’s first album Switchblade Serenades created a minor buzz here in the states, but it caught on in a major way in their homeland of Sweden.  Their second album True Sound of the Underground saw the buzz grow here in the US as the band ventured out on the Hell Hath No Fury tour sponsored by Revolver that included other female fronted metal bands including In This Moment and Straight Line Stitch. The band later jumped onboard a tour with OTEP and One Eyed Doll that brought in many new fans.

I got to sit down with lead guitarist Jimmy Hiltula on the eve of the release of their anticipated third album with Victory Records Now and Forever to discuss their latest creation. “We’re very happy with how the album turned out. I think it’s kind of a different album in a way for us. I think it’s heavier and has a darker feeling to it than the others we have done. The songs are more diverse and more dynamic. We added different elements to them such as keyboard parts and even a piano. We wanted to create a different atmosphere on it and try to step out of our comfort zone.”

The album does have the feel that Jimmy mentioned, but it’s definitely plenty of what you would expect from the band. Such is the case with the first video released from the album entitled “End of Line”. “We chose that one because it had all the main ingredients of Sister Sin. The verses were pure Sister Sin, all the way. Then we threw in the thrashing guitar parts and the pounding drums. The tempo is fast and the chorus is melodic and dynamic, so the song was just a given for the first release.”

The album does have some surprises on it with a huge one being the band’s first ballad entitled “Morning After”. It’s a powerful song that will catch fans off guard as it begins with the delicate sound of a piano and Liv’s voice, with a string section also joining in. “We really wanted to do a ballad on this album, but we weren’t sure what to do. It’s not only our first ballad, but it’s actually a cover song too. We just kind of stumbled across the song on You Tube one day. It was originally done by Randy Piper’s Animal. We thought the melodies were really good and we felt that we could do something really special with it. I think Liv’s voice is very powerful in it and it really showcases her.”

The band has won fans over with their dynamic, high energy live show here in the US. Their first dates here in the states to support the new album will come in February of 2013 as they open for the iconic German rocker Doro. “We’re really excited to be hitting the road with her. We’ve done some previous things with her such as the cover of Motorhead’s “Rock N’ Roll”. We’ve also played a few times with her before, but this will be our first tour with her. She’s definitely one of our idols. The timing was perfect and it all just came together to be able to do the tour, so we can’t wait to hit the road with her.”

The touring cycle is a beast that’s tough to tame. The band travels from city to city in their home on wheels as they adapt to sleeping on a moving bed and being up all night and sleeping all day. Is touring the US any different than touring Sweden? “Well, the US packages that we have toured on seem to be really big. There are usually four or five national bands and maybe two local bands opening up. I would say that’s the biggest difference, unless it’s a big one day festival. The audiences are very similar, but the drives in the US from city to city can be very long. We sometimes have to travel thirty hours to the next show. The food is also a little different. When we first get to the US, we tend to eat a lot of burgers (laughs), but then we get tired of them. We love eating at Panera Bread and at Subway because we don’t have those in Sweden.”

It has to be a surreal kind of feeling to be a musician and go out on the road opening up for an artist who you have idolized or been influenced by such as Doro. It’s no secret that lead singer is a big fan of Doro as is the rest of the band, but Jimmy’s a guitar slinger. What influenced him to pick up that loaded six string years ago? “Metallica actually got me into playing the guitar. I didn’t necessarily think that Kirk (Hammett) and James (Hetfield) were guitar gods, but they did inspire me to learn to play. As far as my heroes go, first and foremost is Yngwie Malmsteen. I’d also have to say that Judas Priest is a big favorite of mine. Painkiller is one of my all-time favorite albums. You can’t get more metal than that! There are so many albums that influenced me too. The first WASP album, Motley Crue’s Shout at the Devil, the first Van Halen album, there are just too many to list here. The 80s was such a great period for metal.”

If you are a fan of 80s metal and haven’t checked out Sister Sin, then you don’t know what you are missing. The band’s influences run deep in the music of that era. The capture the feel and sound of the era and update it to make it sound current and not dated. Even if you are not a fan of 80s metal, Sister Sin has a lot to offer to rock any metal lovers speakers. Their new album is entitled Now and Forever and it is worthy of being cranked at least to 11, if not louder. 

Ill Nino Moves Forward on Epidemia

The six-piece metal band Ill Nino has definitely been on a musical rollercoaster since their debut album Revolution Revolucion was released back in 2001. The guys have been on three different labels and have seen several members come and go. They seemed to peak in 2003 with their release Confession. They haven’t been able to recapture that lightning in a bottle since that pushed them into the mainstream. All of that may change with their latest Latin infused style of metal entitled Epidemia.

This is the band’s second release for Victory Records and the follow-up to 2010’s Dead New World. It’s a solid and focused album that, given the right amount of attention and push by their label, could very well help them recapture that magic from 2003. The album opens with “The Depression” as the track slams its fist on the counter, demanding the attention of the listener. The riffs come in strong and aggressive as lead singer Cristian Machado volleys back and forth with an impressive mix of screams and melodic clean vocals. “Only The Loved” continues with more of the same from the guys.

“Eva” is a standout track as it sets an eerie tone with a creepy riff from the start that would make the song right at home in any slasher film. Machado delivers a solid vocal delivery on this one as again he mixes his styles up, but comes off in a very convincing way. This track is a bit reminiscent of older Ill Nino and I think after one listen, some of you may just agree. “Death Wants More” also offers up a strong delivery in its somewhat melodic delivery that still offers plenty of killer riffs.

Another standout track would have to be “Forgive Me Father”. It’s a mainly clean vocal delivery from Machado that helps to convey the emotional elements behind the lyrics in an effective way.  The riffs may not be as aggressive as on other tracks, but that works to the songs advantage given the lyrical content. It still has that Ill Nino Latin flavor to it and it still manages to rock. It may be the most mainstream sounding track on the album.

So, after listening to the entire album I found myself wondering what the fans would think of it. I think the newer fans of the band will definitely be happy with it as their more defined sound from the last few years is definitely there. I also think the older fans, and even some who may have given up on the band, will find this to be a more solid release with elements of early Ill Nino present throughout. Is it a perfect release? No, there are a few weak spots along the ride where the band seems to fall into a familiar pattern that some may find repetitive at times. Overall, it’s a more focused and stronger release from the guys and one that will please quite a few metal fans out there. Pick it up and crank it loud!  

Sister Sin Rock Harder and Darker on New Album

Sister Sin, Sweden’s heavy metal export, is back with a new album full of old school, piss and vinegar, 80s metal entitled Now and Forever. In an industry that seems to invent a new genre of metal quicker than it can turn out a proven long term talent, Sister Sin is a throwback to old school 80s metal. Come on, you remember. The hooks were infectious, the sing-along choruses and the attitudes were as big as the teased hair was.

Ok, first off, let’s address the “elephant in the room” and get it out of the way. Lead singer Liz Jagrell is hot and she is a regular part of Revolver Magazine’s Hottest Chicks in Hard Rock. She is far from being a one dimensional piece of eye candy fronting a band. If you ever get a chance to catch this band live, she will quickly change your mind if you think she’s just that. There are also three talented musicians backing this woman who are just as serious to prove they are not a novelty band or a band with a gimmick. By the way, before anyone tries to start something, “elephant in the room” is an old saying and it implies nothing about Liv. Seriously people, come on now!

Now and Forever is the band’s latest release on Victory Records and the follow-up to 2010’s True Sound of the Underground. It’s an eleven track arsenal of metal that hits you right between the eyes and never lets up. Now, I have to admit that the instrumental opener “MMXII” may be seen as a throw-away track. It may be something incorporated into their live show, but a short instrumental opener on a metal album can sometimes be confusing. It’s an eerie, kind of movie like piece that seems post apocalyptic in its build up. 

The real fun begins with the second track and the first video from the album “End of the Line”. Jimmy Hiltula’s opening riff took me back to classic Ratt from the 80s. The rhythm section of Strandh on bass and Dave Sundberg on drums lay down the foundation that helps rock this band’s core. “Fight Song” is up next and a standout on the album. Liv’s pissed off attitude is broadcast clear throughout the entire song. There’s a bad ass behind that pretty exterior and it’s just looking for a reason to be unleashed. I’m pretty sure that a song that starts off with a loud “F-you” is not going to be a heartfelt ballad.
“The Chosen Few” is catchy as hell as the guitar hooks you in immediately and that back beat from Strandh and Sundberg is infectious. The chorus is textbook metal as it is big and loud and commands audience participation. This will be a great song to add to their live show. “Running Low” is along the same design as the machine gun like drum intro immediately leads in one of Jimmy’s big riffs. In case I have failed to mention it before now, Liv’s vocals as stronger than ever on this album.

I was really caught off guard by the last track entitled “Morning After”. It’s a heartfelt ballad by Liz and the boys and very uncharacteristic of the band. I may be wrong and if I am, then someone please correct me, but this may be the first ballad that the band has attempted. It starts off with a lone piano playing and then Liv’s vocals, with a string section coming in soon after. It takes a power ballad turn midway through as the rest of the band joins her before the song fades out. It’s a very nice surprise as it expands the band’s repertoire and shows some depth.

Overall, the album is just what you would expect from Sister Sin. The ballad was a nice touch as I have never heard the band attempt one before and they pull it off convincingly. They pull no punches and they don’t try to reinvent the wheel or solve the national debt crisis on this release. It’s just straight ahead, classic metal with attitude and the balls to back it up. Yes, even with a front woman they manage to do that.

God Forbid Marches Forward With Equilibrium

Momentum is a great thing for a band and in many instances; they like to ride that momentum as they go into the studio to follow-up a big album. The metal band God Forbid was doing just that as they entered the studio to record the follow-up to 2009’s Earthsblood. That album was a very solid release for them and many considered it amongst the best that they had done to date.

Guitarist, song writer and founding member Dallas Coyle left the band shortly after the release of that album and former Darkest Hour guitarist took his place on that tour. Matt Wicklund, of Himsa, took over that position permanently. Would Dallas’ presence be missed in the studio? Only time would tell on that question. That brings us to the release of their newest album Equilibrium.

A new label and a new guitarist are major changes for any band. How would they react to the major shake-up? Well, for most counts, it seems to be an easy transition for them. Equilibrium is a really good album, but it’s not perfect. It’s not a progression from the last album, but it’s also far from being a step back. It starts off strong with the first track “Don’t Tell Me What to Dream”. The net was a buzz after this song was released a while back because of its djent sound, but it’s the only track on the album with such a sound.

Next up is “My Rebirth” and the pounding drum intro gets it going right out of the gate. The guitar work between Wicklund and Doc Coyle is killer on this song. The guys pick up the pace with “A Few Good Men”. This song is just one of a few that have a breakdown in it, but it’s not necessarily a textbook breakdown, therefore making it somewhat interesting. “Scraping The Walls” is one of the stronger songs on the album and it excels in its many layers and arrangements. It also has a great chanting, sing-a-long chorus that should translate really well to the live show.

The guys included a very cool instrumental entitled “Awakening” which really allows the band’s musicianship to shine through. It’s a great number that ends and leaves you wanting more. The closer, “Where We Come From”, is another of the stronger tracks on the album and closes the album out in a major way. The guitar work on this track is blistering and the way that they play off of each other is pretty amazing. It’s not always that a band saves the best for last, but this just may be one of those albums.

So, was the absence of founding member Dallas Coyle felt? I would have to say yes, but not in a major way. Yes, his clean vocals are missed, even though his brother Doc Coyle is now handling them. Matt Wicklund does more than just step into the shoes as their new guitarist, he stomps the fool out of them with his guitar skills.

The first album by God Forbid on their new home label Victory Records is pretty solid, even though there are a few weaker tracks. It’s kind of funny because even the weaker tracks are better than a lot of what’s being heard in that genre today. The guys still know how to maintain the balance between melodic riffs and aggressiveness. As far as vocals go, Byron Davis turns in yet another solid performance. The band will be on the road in support of the new album and it should prove to be an interesting night of head banging. A new guitarist, new material, but the mentality of maximus rock is still there.

Carnifex Proves They're Are Not For The Meek

California based Carnifex is back with a new offering on Victory Records entitled Until I Feel Nothing. It’s a beast of an album following in the footsteps of their 2010 praised release Hell Chose Me. That release saw the guys move closer towards the fore front of the death core/death metal scene as their praises were seen all over such magazines as Metal Edge, AP, Metal Hammer and many more.

Until I Feel Nothing may not break any new ground for the band, but it does showcase the band offering up more songs of intensity and brutality. The album opens with “Deathwish” and basically that song is an instrumental (minus a couple words) that starts off with a creepy horror movie feel to it. It builds in anticipation before unleashing a blast of energy that leads into the next track “We Spoke of Lies”.

For me, the album starts off a bit slow before settling into a good rhythm. It wasn’t until track four, “Dead but Dreaming”, before it really started getting interesting. That was when my face truly started to melt. Then, “Creation Defaced” made me a true believer. This song shows growth within the band musically. It’s a great arrangement that starts intense, but the breakdown towards the middle takes the listener is an unexpected direction. The screaming guitars disappear and the songs takes a dark, almost apocalyptic sounding direction. A minute or so later, the guitars return as the listener gets kicked in the face with a blast of rage. I am sure that some may hate it this risky move, but I found it to be very interesting and I think it really adds another layer to the song. I also think this song also showcases lead singer Scott Lewis’ guttural growls the best.

“Until I Feel Nothing” and “Curse My Name” are two more stellar tracks worthy of being heard. The rest of the album is some of the most extreme music that I have heard in this genre. I put Carnifex right up there and inching closer to the level that The Black Dahlia Murder is on. Time, as well as continued focus by the band, will tell if they make it to that next level.

The death metal label is quickly becoming oversaturated with bands and you really have to find your niche to standout for any kind of long term success. The band seems to be focused on unleashing the most brutal sound that they can. Producer Tim Lambesis (As I Lay Dying) was a good choice. He definitely allowed the band to find that comfort zone again that was found during the recording of Hell Chose Me. I’m not sure it was a step forward for them, but it was definitely not a step backwards.

As far as the band goes, the dual guitar attack of Ryan Gudmunds and Cory Arford is bombastic on the album. The shredding just peels away the skin when listened to at maximum volume. The rhythm section of Fred Calderon on bass and Shawn Cameron on drums are more than worthy of supplying the glue that holds this arsenal together. Just listen to Shawn’s drumming and tell me that he doesn’t exhaust you with his playing just a few songs in! As for Scott, he definitely has some of the most insane growls and guttural vocals in the industry. As for his high end, it’s better than in the past, but at times sounds like so many in that field.

Overall, I think it’s a really good album. If you’re a pansy and want you metal all sweet and corporate, then you need to stay away. If you’re looking for something intense and crushing in its delivery, then Carnifex is definitely the band for you. Grab a copy, crank it up and prepare to be assaulted!

Otep Shamaya Shares Her Artistic Vision

Artistic expression comes in many forms. Some channel their inner message and express it on a canvas with paint, while others may choose to put pen to paper. Otep Shamaya is an artist that assaults all of the senses when she expresses herself. Her latest creation is Otep’s thought provoking release Atavist. I had the privilege of catching up with Otep as she prepared for the release of her latest masterpiece.

Music Is My Drug Of Choice: There seems to have been a really good buzz generating about your new CD before its release. It’s been on many “Most Anticipated CDs of 2011” lists. How does that make you feel when you see and hear that?

Otep: It makes me feel very proud. I have had this record inside of me for over a year and couldn’t wait to let it out. We worked on it for a little over two and a half months and now it’s time to see if the people believe like I do.

Did you approach making this album any differently than in the past?

Well, I didn’t have a band for this one. I also worked with some very talented song writers. It’s very exciting for me to be able to write songs that I have always wanted to write. “Drunk (On the Blood of Saints)” has such a powerful groove to it. There is a special musical feel that you just can’t teach when it come to writing music. It was so awesome to work with Tony Campos from Static X. He is a very technical guitar player.

The first video from the CD is for the song “Fists Fall”. How much involvement did you have with it?

The concept of the video was my idea. I worked with Robby Starbuck and he did a great job of bringing my vision to life. It is a song about bullying, but it’s also about fighting for what you believe in. I asked myself who I would like to fight and I also ask the listener. It really doesn’t matter, just as long as you do fight for what is important.

You cover “Not to Touch the Earth” by the Doors. I can see a lot of similarities between yourself and Jim Morrison. How did this cover come about?

I have always been a big fan of Jim and of the Doors. They are one of the most innovative bands of all time. I was asked to record a cover for this album and this song really spoke to me. I wanted it to be as sterile as possible and still be very exciting to the overall album.

Your first album was recorded in 2002. How do you think you have grown since that debut?

Creatively, in the past, I didn’t know much about the industry or about creating records. I was at the mercy of my inner emotions, but I wanted to master them. Over time, I think I have achieved that. I feel that I am closer to those emotions, but the malices are still there. I do feel that I am a stronger writer and performer. We all have to evolve in order to survive.

You are such a creative person that I wanted to pose to you this rather different type of question. If I was deaf and you were given a blank canvas to illustrate your sound to me, how would you create that image?

It would be similar to a Jackson Pollock painting. I would take the canvass and put it over a large speaker. I would press play and start dropping paint on it as the music played. I would do this and let it paint itself.

Are you anxious to get back out on the road?

I love performing for my fans. Everything is being organized right now. The suits and agents are lining everything up. We are looking at the end of May or early June to hit the road. I appreciate all the support from the fans and can’t wait to see them.

Since this went to press, tour plans have been announced with Otep headlining with support from Sister Sin, Destrophy, Blackguard and One-Eyed Doll. This is a show not to be missed!

OTEP Delivers Strong On Atavist

If Otep Shamaya was a box of crayolas, then she would not be the small 8 count box. She would be the massive economy pack of 150. Her visions push the envelope of normalcy and she challenges you to think way outside of the box. She is a poet and a lyricist who is strong, opinionated, outspoken and a breath of fresh air from the divas dominating the radio.

OTEP is Otep Shamaya’s musical baby and one of her outlets for her strong, impressionistic visions. Her latest CD is entitled Atavist and there was a huge buzz growing over the months in anticipation of this release. It was included on numerous “Most Anticipated Releases of 2011”.

The second track, “Atom to Adam” really sets the tone for the CD. The intensity level on this song is off the charts both musically and lyrically. The inclusion of a Moby Dick reference really got me to thinking about the songs meaning of mind games and control. This song is similar in tone to “Warhead”.

“We Dream like Lions” is a slower, acoustic style song that really stands apart from the other tracks. It’s a beautiful song and its symbolism really helps to paint a picture in the listener’s mind. “Drunk on the Blood of Saints” has Otep reciting the verses in spoken form until the chorus on which she unleashes her growls. This song also contains one of the nastiest bass lines that I have ever heard.

“Fists Fall” is an epic track with an epic video to accompany it. An anti-bullying song that also doubles as a fight for what you believe in anthem. It doesn’t matter if you win the fight or if you lose it, just as long as you do fight for it. If this song doesn’t get you fired up and ready to go, then Red Bull just won’t do the trick.

“Baby’s Breath” is a track that is either a hit or miss; it’s not going to be for everyone. It’s one of two spoken word tracks in which Otep really reaches deep into a dark side that exists in some people. It’s a seven minute journey in voyeurism and violence with a twisted smile. Listening to this track in a dimly lit room with headphones on actually was a bit creepy for me.



“I Alone” is a standout track both musically and lyrically. You can almost feel the pain in the lyrics of being an individual and not wanting to fit in too what society deems as the “norm” This will hit home with a lot of Otep fans as she has always been a leader in the right to be who you are and not compromising. The final track is the cover of the Door’s “Not to Touch the Earth”. This is another that is either hit or miss. I really like their take on it and I think that Jim would be proud of it, but I can see where some fans of the original are just not going to get it.

Overall, I think it is a really good CD. There are some songs that are quite diverse from others on it. I like that it mixes things up instead of giving you twelve tracks of monotony. Otep switches back and forth on some tracks with her screams and clean vocals, but her growls are just as intense as ever. I really liked it upon the first listen, but with each subsequent listen, it makes an even deeper impact on me.

I would recommend spending the few extra dollars and getting the deluxe edition. It comes with a DVD that includes music videos, a film called “Baby’s Breath”, a segment where Otep talks about recording the CD and about each song and even more stuff. Otep and Victory Records really went all out on this deluxe version. This is way better than some CD/DVD sets that many established artists have tried to put out and came up short. Either way, this is a solid CD with some of the most intense imagery that I have come across in a very long time. Check it out, give it a couple of listens and expand your mind…..if you dare.