A Night In Texas - The Divine Dichotomy - Chapter I (2021)

 

A Night In Texas - The Divine Dichotomy - Chapter I (2021)

Artist: A Night In Texas

Album: The Divine Dichotomy - Chapter I

Released: July 16, 2021

Genre: Deathcore

Country: Australia

Quality: MP3 / CBR 320 Kbps

Label: Self-released

TRACKLIST

01. Antichrist Gospel (3:10)

02. Flesh Kingdom (5:07)

03. King of Despair (3:30)

04. The Blood of Christ (2:44)

05. Feed the Lions (3:48)

06. Born to Rule (3:21)

07. Death Chapel (3:17)

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Lack of Remorse - The Bacon Chronicles III (2021)

 Lack of Remorse - The Bacon Chronicles III (2021)

Artist: Lack of Remorse

Album: Lack of Remorse

Released: July 22, 2021

Genre: Deathcore / Metalcore

Country: Mexico

Quality: MP3 / CBR 320 Kbps

Label: True Bacon Corp.

TRACKLIST

01. Fireflies (Live) (04:20)

02. Dark Titan (Live) (03:52)

03. We Must Let Go (feat. Luis Rodriguez) (Live) (04:00)

04. Burn (Live) (03:30)

05. Misfits (Live) (03:23)

06. Rock Is Dead (Live) (03:47)

07. Reach Out (Live) (03:48)

08. Redemption (feat. Tetes) (Live) (03:56)

09. Back In Time (Live) (02:45)

10. Fvck You (Live) (04:22)

11. The Road (Live) (04:00)

12. The Purge (Live) (04:23)

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Inhuman Architects - Paradoxus (2021) Album

Inhuman Architects - Paradoxus (2021)

Artist: Inhuman Architects

Album: Paradoxus

Released: July 23, 2021

Genre: Brutal Deathcore

Country: Portugal

Quality: MP3 / CBR 320 Kbps

Label: Vicious Instinct Records

TRACKLIST

01. In Adventu Deorum (00:48)

02. Behold The Creator (03:53)

03. Defying the Gods (feat. João Martins) (04:48)

04. Nephilim (05:14)

05. Nibiru's Wrath (04:07)

06. Interplanetary Suffering (04:27)

07. Astra Natus Est (feat. José Sousa) (04:31)

08. The Great Deceiver (feat. Ricardo Guimarães) (05:04)

09. Night Intruders (04:30)

10. Vortex (05:26)

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SKIDROW - REVOLUTION PER MINUTE ALBUM REVIEW

 

I'm still waiting for the punchline. 

By hells_unicorn, May 20th, 2009

I’m not sure whether this album was intended as a joke, or if maybe Dave Sabo and Rachel Bolan partied a little too hard in the 80s and caught a late manifesting case of Ozzy Osbourne syndrome, but either the way the result is an utter catastrophe. The only thing that I can think of that can potentially lead to failure in the same way that an 80s heavy metal band morphing into a grunge rock, alternative metal, or groove metal band would is adopting the really flakey newer brand of emo pop/punk pushed by bands like My Chemical Romance, and boy does Skid Row take the fatal plunge on here.

“Revolutions Per Minute” is essentially a slightly manlier rehash of stuff heard off of “The Black Parade” with some better guitar solos and a slightly better vocal delivery. The songwriting is extraordinarily vapid, churning out interchangeable melodies in major keys that sound extremely hokey when matched up with Johnny Solinger’s really lame attempts at emulating the punk rock version of attitude based yelling. The lyrical content reads like the illegitimate son of Vince Neil and Sam Kinnison if the former was downing tons of alcohol throughout his pregnancy, resulting in any level of humor being inherited from the later being killed off.

Just one listen to pseudo rocking up tempo joke songs in “Another Dick In The System” and “Nothing” will seal any doubt that this is not something that can be listened to without either busting out laughing or sighing in a state of apathy. When the formulaic power chord songs start to get played out, then these washed up 80s icons resort to the same sort of crappy down tempo semi-grunge rock influenced rubbish that occasionally comes out of bands like Seether, complete with Solinger actually channeling Kurt Cobain during the quiet verses. And there’s naturally goofy joke songs aplenty, including a really revolting semi-country rock sounding blunder in “You Lie” and a really redundant and utterly unfunny power chord coaster in “White Trash”. You can tell a band is scraping the bottom of the barrel when they start making references to “Girls Gone Wild”.

The only song on here that even sounds remotely good is “Let It Ride”, which sees the band taking the pop/punk song format into something of an enjoyable direction. This is basically a somewhat more complex version of a Green Day song with one little rock riff tucked into the verse, but it’s reasonably catchy and has a solid gang chorus that fills out the arrangement relatively nicely. They throw in a little token guitar solo on this one that loosely resembles a Bon Jovi meets Twisted Sister approach to lead work, but for the most part it’s all power chords and vocals.

If ever there was a band that needs to just cash in their chips and hang it up it’s these guys. It’s utterly sad that the same band that wrote songs like “Youth Gone Wild”, “Sweet Little Sister” and “Slave To The Grind” has been reduced to this. Not even a minimally self-respecting fan of the most girlie of hair bands should ever admit to liking this. I’d even put that ridiculous made up band that Sebastian Bach was in a couple years back with Ted Nugent, Scott Ian and Evan Seinfeld called Damnocracy above this pile of Emo drenched, pseudo-comical drivel.

Track List  :

1. Disease 
2. Another Dick in the System 
3. Pulling My Heart Out from Under Me 
4. When God Can't Wait 
5. Shut Up Baby, I Love You 0
6. Strength (The Alarm cover)
7. White Trash
8. You Lie 
9. Nothing 
10. Love Is Dead
11. Let It Ride 

Line Up  :

Johnny Solinger Vocals (lead)

Dave "The Snake" Sabo Guitars, Vocals (backing)

Scotti Hill Guitars, Vocals (backing), Lap steel

Rachel Bolan Bass, Vocals (backing), Percussion

Dave Gara Drums, Vocals (backing)

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Skid Row and Steamhammer Recordings! 

Purchase your remastered copy today!

SKID ROW - REVOLUTION PER MINUTE FULL ALBUM

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SKIDROW - THICKSKIN ALBUM REVIEW

Quoting Shakespeare is a tired cliche when writing an obituary, even if for a formerly great 80s metal icon, but as the old saying goes, "I have not come to praise Skid Row, but to bury them", a funeral that is naturally about 16 years after their actual demise. Contrary to the opinions of many, including members of the very band in question, the 1990s didn't spell the end of this outfit in a studio capacity, though the proverbial writing was on the wall soon after the quasi-grunge influenced 1995 commercial downturn Subhuman Race with Sebastian Bach's exodus from the fold. Then again, the influence of a latter day 90s influence upon their 2003 attempt at a return Thickskin is the chief culprit in its total failure, rather than something that can be laid solely upon the doorstep of recently recruited vocalist and reasonably apt front man Johnny Solinger. All things considered, the aforementioned rock vocalist and latter day fellow traveler was never able to gel with Skid Row in a studio capacity during his entire tenure, but as with their 2006 bowl of turkey turds Revolutions Per Minute, this first run with Solinger is a collective failure on all fronts, and a brutal one at that.

There are two dominant styles that round out the entirety of this sad collection of stale, commercialized post-90s drivel, with the more dominant one being the putrid late 90s alternative pop/rock craze that most rational creatures decry for ever existing, which has supplanted a still present remnant of the groove-driven grunge sound of Subhuman Race. Generally speaking, the songs that veer towards the latter category tend to be less terrible of the lot, though that isn't saying much when approaching a hypnotic, semi-plagiarized homage to Marilyn Manson's "The Beautiful People" minus the creepiness that made said song charming to an extent in "New Generation". Along a similarly groovy and almost Pantera-like mold stands the plodding mess that is "Mouth Of Voodoo" and the grungy-infused attempt at aping Alice In Chains "Down From Underground". About the only point where things get a tad interesting is the de facto title song "Thick Is The Skin", which lands on a fairly nice variation of the prime riff of Sabbath's "Zero The Hero" during the verse and maintains a respectable Soundgarden-oriented vibe throughout its duration, not original by any stretch and a bit rough around the edges, but reasonably listenable.

For all the derivative staleness that permeates the aforementioned songs, they do meet the minimal threshold of metallic rocking that goes with the Skid Row moniker, which is far more than can be said for the decrepit, easy-listening crud that dominates this album. Perhaps the best analogy would be the bastard result of an orgy between such noted 90s alternative and post-grunge outfits as Three Doors Down, Dishwalla, Third Eye Blind, Seven Mary Three, Matchbox 20, Goo Goo Dolls, and just about every band that ripped off Gin Blossoms and put an Eddie Vedder yarl over top of it. Whether it's the corny pop-bopping balladry of "Born A Beggar" and the slightly U2-influenced variation thereof "See You Around", or slightly more rocking emulations of the same sappy crap like "Ghost" and "Lamb". Yet for all the trendy rubbish from 1996 that these songs could muster can't even hold a candle to the horrid, pop/punk sequel to this band's classic late 80s ballad "I Remember You"; a bigger musical insult to Skid Row's legacy could not have been thrown had Blink 182 and The Rembrandts gotten together and done a cover of said song in the same vapid formula that made both outfits rock radio darlings.

If there is a silver-lining to be had from this lame attempt at commercial pandering, it is that it reveals a number of things about both the music media and, to maybe a slightly lesser extent, the remnant members of the original band. While the commercial dookie-rags Entertainment Weekly and Rolling Stone didn't bother with this album due to it being an initially independent release (telling about their priorities as so-called journalistic outlets), the pop/rock bias of Rock Hard magazine's glowing review of this confused little album couldn't be more blatant. But for all the fawning over this dung heap, at least said outlet understood that this was not going to rub old school fans the right way, which is more than can be said for EW and RS's notion that this album's predecessor was indistinct from Skid Row's first two offerings. The real head-scratcher of the bunch is actually bassist Rachel Bolan, who while likening Subhuman Race to their equivalent of St. Anger (said album is far closer to a poor man's answer to Motley Crue's 1994 eponymous album), has little negative to say about this sad attempt at selling out. Trustees of all things Goo Goo Dolls and aging flannel-toting morons may dig this, but any self-respecting fan of metal shouldn't touch this with a 50 ft. pole.

Track List  :

1. New Generation

2. Ghost

3. Swallow Me (The Real You)

4. Born a Beggar

5. Thick Is the Skin

6. See You Around

7. Mouth of Voodoo

8. One Light

9. I Remember You Two

10. Lamb

11. Down from Underground

12. Hittin' a Wall

Line Up  :

Johnny Solinger Vocals (lead)

Scotti Hill Guitars, Vocals (backing)

Dave "The Snake" Sabo Guitars, Vocals (backing)

Rachel Bolan Bass, Vocals (backing)

Phil Varone Drums, Vocals (backing)

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Skid Row and Independent Recordings! 

Purchase your remastered copy today!

 SKID ROW - THICKSKIN FULL ALBUM 

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Metal Archive · Thinckskin Full Album

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SKIDROW - SUBHUMAN RACE ALBUM REVIEW

There used to be a fuzzy and ambiguous line separating hard rock from heavy metal. Back in the mid to late 80s, mainstream media labeled groups such as Poison, Bon Jovi and Guns N’ Roses as “heavy metal” bands. As there was no metal police back then (aka the Archives) or any random thrash metal fascist troll, to point out the metal content in an artist’s repertoire, the record buying public accepted such sweeping generalizations without questions asked. Of course, as the 90s arrived and the internet flourished, knowledge about music genres was spread widely by those who were vested with the authority to set the guidelines and the rules on what deserves to be called “heavy metal”.

We do know that many metal bands did not start as such but instead, toyed with other genres of music. This is the case with Skid Row, a group which rose to prominence in the late 80s; a relative contemporary of bands like Warrant, Ratt and Guns N’ Roses, the group was, first and foremost, a hard rock band. With their first two albums, Sebastian and his band mates attempted to reach rock stardom with their trademark street orientated, gritty hard rock; “18 and Life” and “I Remember You” were radio ready, commercialized anthems geared for MTV rotation. It was not until 1995’s “Subhuman Race” that Skid Row finally shed its last vestiges of hard rock.

Skid Row’s third album at last fully embraced heavy metal and experimented with various sub-styles of the genre. First track “My Enemy” is a groovy stomper while the title song is a full-on thrashing effort. There is a clear and evident groove influence to a lot of the songs, thanks to the band’s association with Pantera, who by this point, was commonly recognized for their power groove style. Still, the band hasn’t fully abandoned their pop roots and songs like “Breakin’ Down” and “Into Another” have a very agreeable sound which is sure to please fans of Def Leppard. “Breakin’ Down” is especially noteworthy for its power ballad/AOR quality, starting with an acoustic section before going full throttle on the guitar distortion later. What’s really remarkable with a lot of the songs is that they have an element of being “alternative” (this is not exactly the correct word but I really couldn’t think of a more apt term) without sounding in the least bit like a grunge band or group from Seattle. This can be observed in songs such as “Firesign” and “Beat Yourself Blind”.

Of course, a lot of the songs work partly because of Sebastian Bach’s notable vocals. At a time (the 90s) when it was de rigueur to use growling (ala Phil Anselmo and Max Cavalera) as a vocal crutch, Bach stuck to the traditional heavy metal singing style. At times, he sounds like Rob Halford, at others, like a more well articulated Axl Rose. He can sing in the grittier style which is a requirement in metal, without coming across as soft, unlike perhaps singers of pop/hard rock bands like Firehouse and White Lion. His singing is actually bearable and not prone to excess, as is the case with cringe-inducing vocalists such as Jon Oliva, David Defei, and (sometimes) Blitz Ellsworth.

The riffwork of Dave “The Snake” Sabo and Scotti Hill is also a formidable building block of each of the album’s songs and is a vital component of Skid Row’s song craft. Sabo and Hill’s riffs are razor sharp and provide just the right amount of audio dynamite to move the songs forward. As stated earlier, both guitarists were influenced in the mid 90s by their comrade, Dimebag Darrell Abbott who popularized groove metal in a way which even groove pioneer, Prong, could not. But Skid Row’s axe slingers have stripped and trimmed the fat out of Pantera’s power groove style and came up with their own grooving brand of heavy metal. This can be attested in songs like “Iron Will” and “Frozen” and the groove in several other tracks do not devolve into cheap mallcore but are well integrated (see “Eileen”). Also, the riffs can be clearly heard without sounding sludgy like a lot of bands from New Orleans or the South.

To conclude, it surely is a bummer that the band wasn’t able to follow this with another proper release as the two albums that followed aren’t even in the metal realm. The lack of real honest to goodness, leather and spikes donning heavy metal bands in the 90s and the new millennium have led to the oversaturation of the scene with death metal/black metal acts and is indeed a sorry state of the heavy music scene back in the decade of political correctness. Sure, there was still the old guard who kept the torch burning (Iron Maiden, Black Sabbath) but the bands that used to sing about motorcycles and leather clad chicks were considered passé at that point. “Subhuman Race” is considered an oddity as it appeared after the death of grunge and the reinvigoration of corporate pop music. I prefer to think of it as the last hurrah of heavy metal and the final authentic heavy metal album.

Track List  :

1. My Enemy

2. Firesign

3. Bonehead

4. Beat Yourself Blind

5. Eileen

6. Remains to Be Seen

7. Subhuman Race

8. Frozen

9. Into Another

10. Face Against My Soul

11. Medicine Jar

12. Breakin' Down

13. Iron Will

Line Up  :

Scotti Hill Guitars, Vocals (backing)

Dave "The Snake" Sabo Guitars

Rachel Bolan Bass

Rob Affuso Drums

Sebastian Bach Vocals

**Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Skid Row and 

Atlantic Recordings! 

Purchase your remastered copy today!

SKID ROW - SUBHUMAN RACE FULL ALBUM 

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Metal Archive · Sub Human Race Full Album

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SKIDROW - SLAVE TO GRIND ALBUM REVIEW

 

Skid Row's sleaze oriented debut album which was released in 1989 was a very good start for them and they enjoyed a huge success over the world. It wasn't until they made their second album "Slave To The Grind" that they reached their top if you ask me. Compared to their debut, this one's a lot heavier, angrier and it's even furious at some points. Skid Row went from being a sleaze metal band to become a cool heavy metal and nothing's better than some cool heavy metal. There's still a few "classic" Skid Row moments on here that reminds of their previous hits "18 & Life" and "I Remember You" but overall, this one's a lot more "fuck you!" than "please, don't leave me!".

It's clearly from the start that Skid Row have become heavier. We're talkin' about the classic opening track "Monkey Business" which is like a mix of their previous style and their new heavy fuckin' metal. The best song on here is defenitely the title track. Believe it or not, but this one's simply thrash metal and it's also the track that best shows what they've become. "Mudkicker" is another pure heavy metal monster with a little sleaze attatched to it and it certainly kick ass. We also get to hear punk in "Riot Act" while "Quicksand Jesus" and "Wasted Time" is responsible for the classic Skid Row power-ballad sound that we're formiliar with from the debut album. The rest of the tracks are cool heavy metal tunes. Some with a little sleaze influences and some with less.

The production on this album is great and it suits the music very well. The guitars are pretty raw and heavy which I think is totally excellent and the solos kicks ass as well. The only thing I'm a little negative on is the bass drum. It's too thin / turned down. Sometimes, it's so low that you don't even hear it. Apart from that, the production's very good.

The cast are great and they've probably never been better either. Snake and Scotti are totally amazing here and you can almost hear their guitars scream for mercy. Rob is a sick drummer! He's what a perfect drummer is, he's made of flesh and blood and every hit doesn't sound accurate to each other which shows that it's not a damn machine. Rachel's bass playing is excellent to say at least, I'm not too much into bass and don't really have an opinion on it. Finally, Sebastian is an amazing singer and his vocals are some of the best I've heard. He doesn't let me down here either.

So finally to my last comments on "Slave To The Grind"...

This is Skid Row's best album and I totally recommend it. I bought it a long time ago now and I don't regret a single swedish "krona" (as our money is called). You should check this one out if you're into bands like Warrant, Mötley Crüe, Whitesnake and other heavier acts.

Track List  :

1. Monkey Business 
2. Slave to the Grind 
3. The Threat 
4. Quicksand Jesus
5. Psycho Love 
6. Get the Fuck Out 
7. Living on a Chain Gang
8. Creepshow 
9. In a Darkened Room 
10. Riot Act
11. Mudkicker
12. Wasted Time

Line Up  :

Scott Hill Guitars

Sebastian Bach Vocals

Dave "The Snake" Sabo Guitars

Rachel Bolan Bass

Rob Affuso Drums

**Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Skid Row and 

Atlantic Recordings! 

Purchase your remastered copy today!

SKID ROW - SLAVE TO GRIND FULL ALBUM 

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Metal Archive · Slave to the Grind Full Album

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