I really dig on bands that push boundaries and combine genres that on paper you’d think would conflict but, once it’s all put together, it makes magical sense. Recently I was introduced to a band that has combined post-hardcore, blackened noise, punk, metal, and screamo into an onslaught of awesomeness. Allow me to introduce you to Gillian Carter. This band is the brainchild of vocalist, multi-instrumentalist, and producer Logan Rivera. Logan is accompanied by Bob Caruso [bass] and Tony Oriza [drums] to complete the lineup. Their new album Salvation Through Misery is and in your face barrage emotions that push an intensity that feels natural and passionate. All of this put together turns the darkness into a wave of empathy that is very relatable and true. Being able to shift from genres within the songs is not an easy task and Gillian Carter does it seamlessly. There is not one song of the 12 on the album that isn’t an explosive catharsis the needs to be purged from the system. If you are looking for an extreme band that you can sink your teeth into, I highly suggest Salvation Through Misery by Gillian Carter. It’s one of the most surprising albums I’ve heard in 2022.
Before there was Korn and Deftones, there was a band that really started it all and they were called Human Waste Project. The band formed in 1992 when Jeff Schartoff and Scott Ellis decided to start a band. Aimee Echo was picked as the vocalist/singer after finding out she could “scream.” After going through different guitarists for a bit they finally found Mike Tempesta and off they went. The next thing they were playing with large bands like Helmet, Korn, Deftones and Sublime. Eventually the band signed with Hollywood Records. Human Waste Project also wound up in the UK and Europe with bands like Tura Satana and Coal Chamber and also part of Ozzfest 98 in the UK. Human Waste Project was enjoying a bit of success especially in the UK but back in the states, things weren’t the same. Their debut album, E-Lux, which is an absolute fantastic album and debut, was considered a commercial failure and that led to the band being pegged as a nu-metal band and it left Aimee feeling uncomfortable and being typecast as such. So on July 8, 1998 at the House of Blues in Los Angeles, Human Waste Project performed their last show as a band. From there, Aimee Echo and Scott Ellis went on to form The Start alongside former Snot drummer, Jaime Miller. Scott Ellis would also later go on to be the drummer for She Wants Revenge. Jeff Schartoff would go on to form Professional Murder Music and be a part of Peter Murphy of Bauhaus’s solo live band. And Mike Tempesta would go on to join Powerman 5000.
Their album E-Lux was produced by Ross Robinson and it’s not your typical nu-metal album. While there were definitely some ties to the incoming music movement, Human Waste Project had more in common with the likes of Jane’s Addiction in that they were always a step ahead of the curve. They had more to their music and lyrics than their peers and it shows very much on E-Lux. There was also a versatility to HWP that other didn’t have. Aimee had a range to her voice that could go from sweet and innocent all the way to rip your face off. Musically, there was more than just dropped tuned guitars, as they explored different styles and gravitated more towards 90’s alternative rock than metal.
Over the years, there have been a few reunions of Human Waste Project. I happen to have been at a couple of them and it was quite awesome. At a show for The Start in 2008, the remaining three HWP members came on stage and played “Dog” and “Shine” with Aimee to end the night. I have to say that was one hell of a surprise. I do remember seeing Mike Tempesta at the show and wondering if perhaps he’d jump up on stage for something and low and behold he did. Later in 2008, Human Waste Project reformed for one night (minus Scott Ellis) to be a part of Snot’s return (the one they did with Tommy Vext, we don’t need to go into that) at the Key Club in Los Angeles. I was at this show too and HWP was absolutely awesome. If anything they actually stole the night for me. Aimee stated that this would be the only full scale reunion show and the band would not be getting back together to tour. And finally at a couple other shows for The Start in 2009, Mike Tempesta joined them on stage to perform “Dog” and “One Night In Spain.”
Human Waste Project was a band that never got their due and should’ve been one of the biggest bands of that era. For whatever reasons why they didn’t, it’s a shame. They were one of the best bands of the time and their debut album is still one of my favorites of that time. In fact, the other day while on a drive up to Santa Barbara we had it on the stereo on the way up and it was glorious. So much so that I felt compelled to write this piece today. Human Waste Project was such a talented and wonderful band. If you never got to see them live, you truly missed out. I for one would love for one more show to happen. There is such a need for this band, it’s not even funny. They were true pioneers of the time and their style would show all these young bands who are trying to cop that style how to do it and do it right. Plus, how awesome would it be to just have them back again! So let’s put it out in the world that we need another go round with Human Waste Project!
Human Waste Project- E-Lux:
Human Waste Project w/ Jonathan Davis of Korn- This Town:
With the news that Depeche Mode is releasing a new album and touring in 2023, I’ve been pretty excited about that. While going back through their catalog and trying to piece together what I’d love to hear I remembered the awesome video for their song “Wrong” off their 2009 album Sound Of The Universe. This video is quite spectacular. It was nominated for a Grammy for best short form video as was the record for best alternative music album. The video was directed by Patrick Daughters (who you might know from Anonymous Content). The whole video is worth watching a few times to pick up on all the intricate things and subtleties that are meticulously placed in there.
Lamb Of God are one of those bands that when you hear them, you know it’s them. There is such a distinctive sound to them that it is quite recognizable. Throughout their career they’ve found what works for them and doesn’t. Their 2020 self titled album saw a member change and the resulting album while good was a very safe introduction to Art Cruz becoming a full time member. Now, in 2022, Lamb Of God has thrown that safeguard away and taken steps to make an album that is urgent and representative of where the band is headed. Now, I’m not saying Lamb reinvented the wheel, this is still Lamb doing Lamb but, this time, it’s different and it feels fresh and evolving.
Omens was recorded live as a band (you know the way records used to be made) and that vibe is felt through all 10 songs and 41 minutes of this pure, unapologetic and vicious album. This album definitely feels like it’s the record that they wanted to make but also had to make. The varying styles and influences heard on Omens stretches further than they have gone before. It’s more impactful and immediate than previous albums. There is a sense that everyone in the band has a say in these songs and that energy radiates through the entire album.
There are plenty of songs on Omens worth mentioning so, I will pick a few of my favorites to entice you a bit. Kicking off the album is “Nevermore” a song that is the epitome of what a Lamb Of God song is. It has everything a fan of this band loves and then some. “Vanishing” is one of those songs that shows a bit of the bands evolution sonically as the tones on this track are ripping. Not to mention that Randy’s vocals on this are damn near punishing. Track number 4 “Ditch” is my favorite on the album (as of this writing). This song is a banger through and through. It’s got this huge anthemic feel to the way the vocals are, then you add in the music which grooves but also decimates as it goes. I have a feeling that if/when this song is added to the bands set list in the future, the pits will erupt. “Gommorah” is epic and heavy. Personally, I’d have loved to hear this one go on a little longer as it shows more of the band evolving and getting more intricate in how they craft a song. This is another that needs to be added to the set list. “Grayscale” is a straight up barn burner. It’s got a total punk rock vibe to it while still being a classic Lamb song. Ending the album is “September Song” a track that is possibly one of the best the band has ever written. It’s song that is the perfect culmination of what Omens is all about. I love the dynamic shifts on this song.
Omens is Lamb Of God spreading their wings a bit more and in a very welcome way. There are always going to be the songs on the album that hark back to the “classic” sound but, now there is a better feel to the band. Art Cruz is finally able to show why he was picked to replace Chris Adler. His energy is found constantly on these songs and it’s very welcomed. Randy Blythe has not just grown as a vocalist, his screams sound great and his lyrics have reached new heights of being introspective whether personal or taking on topical subject matter. John Campbell continues to be a thunderous secret weapon of the band. His tone and style really ties it all together. Mark Morton and Willie Adler continue to be one of the best guitar duos in rock/metal. Mark seems to be even more motivated than ever to push himself to add different flairs to the songs making them memorable and crushing. All in all, Omens is a record new and old Lamb Of God fans will enjoy. The future is bright for Lamb as they continue to be torch bearers for the metal community.
One of the best things about writing and running Audioeclectica is when I get an album sent to me that really peaks my interest. When this happens, I tend to get quite excited and listen to the album countless times and to find all sorts of nuances that make it even better. Recently, I received the new album, Bellevue by a band from New York called The Bobby Lees and it’s absolutely fantastic. It’s one of those albums that the more you listen, the more you enjoy it.
The Bobby Lees are an unhinged band with roots in punk, alternative, garage rock and I’d even say a tinge of folk. The 13-song album, which was recorded live in-studio, was produced by Vance Powell (Jack White, Chris Stapleton, The Raconteurs) and it’s stunning. When you listen to this band you hear something pure and honest that isn’t found in much of the mainstream music you’d hear today. So much so that the band found a champion in the legendary Henry Rollins, who brought them to the attention of Ipecac Recordings where Mike Patton and Greg Werckman signed them. The Bobby Lees are a four-piece that hail from Woodstock, NY, two women (Sam on vocals/guitar and Kendall on Bass) and two guys (Macky on drums and Nicholas on guitar), Sam is the band’s driving force – the songwriter/lyricist and the guide on all things Bobby Lees. The album is incredibly personal, written after a mental break while staying close to Bellevue (she uses the title as both a geographical point and also a reflection of her state of mind at the time).
Now with all that in mind, this album is an absolute kick to the nuts and punch in the face in a totally great way. There is an urgency and ferociousness within these songs that are not only a therapeutic journey but, also one that breathes life back into rock n roll. The album is 13 songs of hard charging unapologetic rock. What they deliver in 32 minutes is astonishing. The moment this album starts you can tell you are in for something that’s quite a trip. I could go song by song but my descriptions of the songs won’t do it justice enough. You need to listen to this album! There is an intelligence to this album too. The lyrics aren’t just personal they are introspective and deep. Then you add in the raw elements of the production and the chills that run amok over you with each listen will grab you and throw you against a wall with a sense of excitement that goes back to the days of CBGB’s and the craziness that ensued there.
The Bobby Lees have released an album that in 2022 is vital and necessary. It also has something that is missing that I’ve been talking about for a while now and that is a feeling of danger. Rock music has needed an injection of danger to it for a while and The Bobby Lees have found the right vein to tap into and let their music speak for itself. Do yourself a favor and take this album on a few spins and let it take over you. It’s one hell of a treat!
Machine Head’s new album Of Kingdom And Crown is not just an achievement for the band but, for Robb Flynn on his own. After the hit and miss of Catharsis which saw the band lose half its members (the absolute greats Dave McClain and Phil Demmel, you will definitely be missed) and divide the fan base a bit, it would’ve been an easy way out to either hang up Machine Head and try something solo. Instead, Robb, who is never one to play it safe (just look to the Machine Head catalog for proof), took the time to craft an album that not only stands up to the great ones in the band’s history (Burn My Eyes and The Blackening) but, Of Kingdom And Crown takes things to a different level of epic heaviness with his first concept album. And it’s one hell of an album and ride!
Of Kingdom And Crown is an absolute vicious and and vengeful album that hits home in ways you wouldn’t expect. The concept of the album allows the listener to become one of the two characters in the story and or both depending on how you listen to the album. I stress that this is an “album” that deserves to be played as such. The concept of the album as told by Robb goes “There’s character number one, named Ares [pronounced Aries]. He loses the love of his life, Amethyst, and goes on a murderous rampage against the perpetrators who killed her. Character number two, named Eros [pronounced Arrows], he is the perpetrator, the one who killed Amethyst. He loses his mother to a drug overdose, and in his downward spiral, he becomes radicalised by this charismatic leader and he goes on his own murderous rampage. The lyrics detail how their lives intertwine.” And now that you have that in mind we can get to the songs.
The first song on the album “Slaughter The Martyr” is an absolute banger and epic! It’s a ten minute song that doesn’t feel like it’s that long. It not only introduces the listener to the characters and story, this song is seriously a beast. One of those that when played live, will no doubt be a fan favorite. “Choke On The Ashes Of Your Hate” is another classic sounding MH track. There is a serious ferociousness to this track. One of the highlights on this track is the guitar solo by Vogg. He adds his stamp to Machine Head on this song. “Become The Firestorm” continues the blazing trail that started the album. This one has some killer blast beats and guitar work that hits on that classic sound again. As the album continues, it takes a turn with “My Hands Are Empty.” This track brings in more of the “epic” feeling with the way the almost choral opening starts things off before becoming one of the more thought provoking songs on the album. The song while it fits within the realm of the story, it’s also societal commentary that fits with today quite well. The “epicness” continues with “Unhallowed.” This song has a really cool groove to it while still being a head banger. Lyrically and vocally, you can tell Robb wanted to try different things and it all works. Oh and the solos on this song… DAMN!!! This is one of my favorite songs on the record. “Kill Thy Enemies” is a straight up heavy song that brings the album’s intensity back up a bit. And then, “No Gods. No Masters” comes in and knocks your teeth out. The chorus has this catchiness to it without being tacky. I personally look forward to hearing this one live when Machine Head tours the states. “Bloodshot” is a very direct and heavy track. It’s got an almost punk rock feel to it and then breaks into a groove driven song. “Rotten” is another direct and groove heavy track only on this one it’s more anthemic. I could see this one being worked into the setlist and being a fun one to play and hear live. Closing out the album is “Arrows In Words From The Sky” as song which Robb has said “is maybe the most hopeful song we’ve ever written… even though it’s totally sad and depressing!” And he’s not wrong, the song is one hell of an end of album track. It’s everything you love about Machine Head in one song. This is my true favorite song on the album. I love everything about it. It’s one those songs that you will feel compelled to listen to again once it’s over.
Of Kingdom And Crown is not just a triumph for Machine Head but for heavy music as well. This album not only fits perfectly in the MH catalog but, to me, has set a new standard for the band moving forward. The new blood in the band seems to have reinvigorated Machine Head and Robb. The Pandemic for all the issues it caused the world, seems to have done some amazing things for bands and the material they are putting out. Machine Head should stand proud with this album. It stands up among the best of their career. This is one of those albums that you don’t want to end. It’s that good and then some!
Heavy music knows no bounds. That’s one of the many things I love about heavy music. The fact that you don’t have to work in a set of parameters to create music that is intriguing, interesting, and that will absolutely decimate everything in its way. Throughout their years, KEN Mode has carved out their own niche among their peers. They done things their own way and it’s proved to be quite successful for them. Their new album NULL, is one hell of an album. Across the 36 minutes of pure aggression, vulnerability and ferociousness, KEN Mode has delievered the goods and then some. In their 20 years together they’ve incorporated elements from punk and hardcore to noise-rock and sludge to mold into an ever evolving sound.
NULL is the bands eighth studio album and they have taken everything they’ve done before and mixed it together to create an album that not only stands on its own merit but, also pushes the band to new directions for the future to come. NULL is an album that hits on feelings of anger, frustration and anxiety and then musically will knock your teeth out with the intensity and tension all of these elements create together. The album isn’t an all out assault. There is a real natural ebb and flow created to takes the listener on quite a ride in a short amount of time. KEN Mode is a band too that is never one to do the same thing. NULL pushes the band into almost avant-garde territory without becoming an “art project” rather it’s quite thought provoking and at times violent.
NULL is an album that isn’t afraid to take chances without being too weird for the sake of being “weird.” The methodical chaos found here is pure and KEN Mode have released an album that seems like only the beginning of what else is to come. In fact, this is only part one of a two part arc. So, when we get part two of this, I would bet that all hell will break loose. In the mean time, NULL is enough to satisfy long time listeners as well as new. KEN Mode are here, armed with a vengeance and throughout this album, you will feel it all.
The other night at The Cobalt Presents show I was part of putting on (which you should definitely be coming out to), the excellent DJ we have at our events (Thank You, Johnny Scott Gramercy) played a song in between bands that I haven’t heard in quite some time. While listening to it, I went into a bit of a trance as the song shifted my attention. That evening I put The Mars Volta’s epic masterpiece, De-loused In The Comatorium on as my go to bed album. Of course I didn’t fall asleep to it like I planned, instead I became comepletey consumed by the album like I did the very first time I listened to it. Then when it got to “Televators” (the song played at the show), I found myself completely in awe of the song again. It’s one of those songs that in the context of the album is so perfectly placed, and as a stand alone track, it’s quite the trip. The Mars Volta’s debut album is a perfect album start to finish. “Televators” is one of the hidden gems of their catalog! Enjoy!
The Mars Volta- Televators (Album Version):
The Mars Volta- Televators (Live At Electric Ballroom, London- 2003):
The other day I had a song stuck in my head and after about 10 minutes I remembered who the band was and I went and put it on. The band was Professional Murder Music, who you might remember from the early 2000’s and their inclusion on the End Of Days soundtrack with their song “Slow.” While listening to their album, I remembered their very great cover of The Cure’s “A Night Like This.” While listening to that I thought, I should listen to another cover of the song by The Smashing Pumpkins. The pumpkins version is sung by James Iha so it has a different vibe than you’d normally get as we are so used to Billy/William as the singer. So I spent some time with both and I have my favorite of the two. Which one do you prefer?
Professional Murder Music- A Night Like This:
The Smashing Pumpkins (James Iha on Vocals)- A Night Like This:
My excitement level is pretty high right now. After last week seeing Nine Inch Nails for my 19th time and now this week, the news is finally released about The Smashing Pumpkins long awaited new album! “Atum: A Rock Opera In Three Acts”. The 33-track collection, whose title is pronounced “autumn,” is being billed as a sequel to 1995’s “Mellon Collie And The Infinite Sadness” and 2000’s “Machina/The Machine of God”. The LP will be released as three 11-track “acts”, eventually culminating in a three-act rock opera. Act 1 of “Atum” will arrive on November 15 2022, Act 2 on January 31 2023, and Act 3 will be made available, along with a special-edition box set featuring all 33 album tracks plus 10 additional unreleased songs, on April 21, 2023. “Atum: A Rock Opera In Three Acts” was written and recorded over a four-year period by Corgan and the rest of the current SMASHING PUMPKINS lineup: guitarists James Iha and Jeff Schroeder, plus drummer Jimmy Chamberlin.
The first single “Beguiled” is out now and features a video that was made and performed live on TikTok of all places. And to make things even more interesting, Billy Corgan will premiere a new track every week for the next 33 weeks on his new podcast, “Thirty-Three With William Patrick Corgan”. The first two episodes, featuring the songs “Atum” and “Butterfly Suite”, are out now.
Not only is this exciting but The Smashing Pumpkins and Jane’s Addiction tour starts next week and runs through November. What a show that will be. I know I’ll be attending it. See you there!
AUDIOECLECTICA 