Black Veil Brides prove they are much more divine than wretched with their latest release

Revivalist glam rockers Black Veil Brides have released their third studio album, a concept album called Wretched and Divine: The Story of the Wild Ones. Wretched and Divine tells the story the rebellious "Wild Ones" who defend their lives and spirits against the controlling organization F.E.A.R.

F.E.A.R. stands for "For Every and All Religion" and is voiced by Wil Francis of William Control and Aiden. Spoken interludes that sound like radio broadcasts--known as the "F.E.A.R. Transmissions"--help the album flow and to tell the Wild Ones' tale as a rock opera.

"Exordium" kicks off the album. It introduces listeners to the F.E.A.R. organization and to the religious imagery that will play a major role throughout Wretched and Divine. "Exordium" features lyrics about the Kingdom of God, which are spoken dramatically over low music that sounds like it is just dying to erupt. And it finally does--into the album's first song "I Am Bulletproof".

"I Am Bulletproof" starts off with a slow and rather eerie piano melody, but the hard rocking guitars from Jinxx and Jake Pitts quickly join in. The riffs are immediately fast and heavy, and they evoke a pure metal sound that would please even the staunchest Iron Maiden or Judas Priest fan. As Andy Biersack's vocals hit with the first lyric "Here we go!" the song instantly becomes a rock anthem. Biersack's vocals are raw and powerful, and they really illustrate the song's lyrics about invincibility and strength--being bulletproof. The guitar solo is great, and the blistering fast notes and crystal clear pitch give this song even more of a decadent metal feel.

The album's title track, "Wretched and Divine", begins with thunderous drumming from Christian "CC" Coma and heavy guitars whose riffs become more intricate as the music leads up to the first verse. Just like "I Am Bulletproof", "Wretched and Divine" features another anthemic sing-along chorus that would surely be the highlight a Black Veil Brides concert. The song's lyrics are about being an outsider but being cool with it--even being empowered by it. This concept reflects the contradictory album and song title "Wretched and Divine".

"Devil's Choir" features a militant drum march intro followed by a blazing guitar melody. It starts out as a heavy song, as the title and intro would lead you to think. The chorus, though, is very melodic, catchy, and bright. It also contains some great backing vocals. This chorus almost doesn't fit, but it strangely does. Maybe it's a part of this whole "wretched and divine" paradox? "Devil's Choir" is later brought back to its metal beginning with a hard and heavy guitar solo.

"Overture" is the entirely instrumental track in the middle of Wretched and Divine. It sounds purely orchestral, but it does contain musical themes and melodies from the album's other tracks. It features a gorgeous string arrangement from the ultra-talented and versatile multi-instrumentalist, Jinxx. Not only does he play guitar, he plays the violin, cello, and piano as well.

I was instantly glued to the track "Nobody's Hero". It's fast, it's heavy, and it's definitely one of the harder songs on the album. The whole song is killer, but I especially love how right before the guitar solo, there's this huge guitar screech that is just so '80s. "Nobody's Hero" really reminds me of "Unbroken", the song Black Veil Brides lent to last year's Avengers movie soundtrack. The lyrics about being "a loaded gun" and "on the run" could easily be about vigilante superheroes. It would be such a mistake if this song weren't featured on the Avengers 2 soundtrack in the future!

"In The End" was the first single from Wretched and Divine, and it was also used as one of the theme songs for last year's WWE Hell in a Cell pay-per-view special. It has choral style singing in the intro, which also features a string arrangement that subtly remains throughout the rest of the song. It has fast, intricate guitar notes just before the vocals it, and the chorus is catchy with the many "woahs" in the backing vocals. The lyrics, which are about not being afraid to die, but wondering how you'll be remembered, are powerful and moving. "In The End" may be an appropriate name from the final song on the album, but it is not the final track.

Wretched and Divine: The Story of the Wild Ones ends with the final F.E.A.R. Transmission, which says F.E.A.R. has been defeated by the Wild Ones. However, the mysterious voice continues to taunt the rebels, telling them they can never truly escape F.E.A.R. There's definitely room for a sequel.

I thoroughly enjoyed this album--the music AND the lyrical subject matter. While the songs from Wretched and Divine focus on being an outsider and just being plain different, they do not have that whiny and insufferable, "Nobody likes me, I don't belong, so I'm going to go kill myself!" attitude that plagues a lot of the modern rock music--and often causes people to make fun of it. Instead of that, Black Veil Brides offers an alternative that steps up and says, "By God, I'm not like everyone else! I'm better, and I'm going to rise above and show them all!" It's rebellious, but in a very positive way.

I also can't say enough about the excellent guitar work of Jinxx and Jake Pitts. They both have a clear, dynamic, and powerful playing style. Not only were these guys classically trained and influenced by the works of Bach and Beethoven, you can very much tell they were raised on the metal classics too. That particular combination is known to breed good metal guitarists! This duo works so well, and they certainly boast some of the most impressive guitar skills I've heard from the newer hard rock and heavy metal bands.

If you don't think this album sounds quite theatrical and dramatic enough for you, Black Veil Brides has created an accompanying film for it called Legion of the Black. It has seen some limited release through Internet streaming on Facebook, and the band will also be releasing it with an upcoming special edition of Wretched and Divine: The Story of the Wild Ones.

8 1/2 out of 10 stars

Lava/Universal Republic
Black Veil Brides Official Website

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Rockers from half a world away deliver a vintage Motor City sound

They may call Warsaw, Poland, home, but Elvis Deluxe sounds like they've come right out of late 1960s or early 1970s Detroit. They began their musical journey a decade ago as hardcore and punk fans who formed a band to explore the genres' garage rock roots. Elvis Deluxe has now released its third full-length studio album, The Story So Far. The Story So Far features several brand new tracks and re-tooled versions of songs from their previous albums Lazy (2007) and Favourite State of Mind (2011).

The Story So Far opens with "Yourgodfreed". Its two-minute intro is ethereal and space age-y, sounding like someone is screwing around with knobs and buttons on the U.S.S. Enterprise over the music. The bass line and drums are laid back, and the guitar riffs take on a more bluesy sound as the song progresses. When the vocals first hit, they start out as haunting and deep--reminiscent of Lou Reed--especially during the opening line, "You pray to Mother Mary / You pray to Jesus Christ". Singer Ziemba then goes into his slightly higher range, where he stays for the rest of the song and most of the album. "Yourgodfreed", which tells of religious hypocrisy, really has a '60s rock meets '90s alternative feel. It's a very good, song but it does clock at almost eight minutes. I would have probably chosen a less dragging, more energetic song to give the album's first impression.

"No Reason", The Story So Far's single, follows. The intro is heavy on the drumming, thanks to Miko. "No Reason" is a lively, hard-hitting rock song--much more so than "Yourgodfreed". The vocals are cool, sexy, and smoky. (Note to self:  Polish accents can be HOT in rock songs!) I was really drawn to "No Reason," because it really reminds me of one of my favourite bands, The Lovehammers, and their lead singer Marty Casey. "No Reason" has such a catchy hook, and the repetition in the chorus makes it so memorable.

"Out of Life" is the heaviest song from The Story So Far, bordering on metal. The intro riffs feel like they are just absolutely barreling down on you! The guitars still have that "fuzzy" garage rock sound like most of the other songs on the album, but the rapid rhythm is so metal. The vocals are even grittier on this one, and Ziemba really sings with soulful conviction here. The song slows its pace at bridge, giving it an almost grunge feel. "Out of Life" has many diverse components, just as the songs on The Story So Far are diverse. Many are short, sweet, and punkish, while others are much longer--like something from a stoner metal jam band.

While my favourite original song from Elvis Deluxe's The Story So Far is "No Reason", I just can't get enough of their cover of Iggy & The Stooges' "Search and Destroy", which is the final track on the album. I've always been a huge fan of this song, and The Stooges are one of my favourite bands. When I first saw the song title, I thought to myself, "Could it be?" Oh, and it was! Elvis Deluxe accurately captured the spirit and energy of the original. It's a bit more polished, but the guitar work of Bert Trust and Bolek really shines through here. 'Search and Destroy" shows Elvis Deluxe's garage rock roots and proto-punk influences, and it also shows exactly what they are capable of.

As a band, Elvis Deluxe has a lot of energy, they are super talented, and they're absolutely one I'd like to see live. Overall, the songs from The Story So Far are good, but I wish more of them stuck out like the obviously radio-ready single "No Reason" or their "Search and Destroy" cover. It took me a few more listens to really get into any of the other songs. I instantly took to their raw vintage sound, so that definitely made up for it. I would highly suggest Elvis Deluxe's The Story So Far to any metal fans who are looking for something kind of different, but still wanting that heavy, gritty rock with loads of attitude.

6 1/2 out of 10 stars

Metal Mind Productions
Elvis Deluxe on Facebook

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"Rat Vendor" successfully sells the Zombie sound and vintage vibes

Just days after his film, Lords of Salem, hit theatres, horror-rock icon Rob Zombie has released his follow-up to 2010's Hellbilly Deluxe 2. While Venomous Rat Regeneration Vendor isn't a companion to the film, Zombie's latest offering is as thrilling and macabre as ever.

Guitar mastermind John 5 remains in the band line-up, along with bassist Piggy D. John 5's former Marilyn Manson bandmate Ginger Fish makes his first album appearance with Rob Zombie, replacing drummer Joey Jordison.

The album opens with the wildly titled "Teenage Nosferatu Pussy" which begins with young woman talking, sounding like a clip from an old movie. She says "It's here! Can't you feel it?" followed by more talk about feeling free and seeing all the molecules and the colours in the air. It's an absolute trip right away. The music starts, and it has a hard-hitting industrial feel with especially heavy drumming. A Deep Purple-esque organ soon joins in. It's only in the forefront briefly, but it remains rather subtle for the rest of the song.  Rob's vocals really have an Alice Cooper tone and attitude here. It becomes increasingly apparent when you notice the rhythm in how he sings, "I am so hazardous / My name is Lazarus," and the chorus, "Teenage Nosferatu Pussy / Turn it on! / Turn it on!" When describing the new Zombie record to my best friend and fellow rocker, my exact words were, "It is SO Alice. Alice Cooper with more sex and violence, of course!"

The next track, "Dead City Radio & The Gods of Supertown", is Venomous Rat Regeneration Vendor's lead single. It begins in a manner similar to "Teenage Nosferatu Pussy", featuring an old film clip (or possibly a radio recording) of a man repeating, "Radio has changed our lives and probably saved our lives", as the massive riffs hit. It's a very heavy, modern song--but it has undeniable '60s and '70s influences. Rob's vocals on this track still have the Alice Cooper sound, and the chorus is filled to the brim with the electric organ. I also really dig that big, bright guitar lick that's just before the chorus.

Because of the "shock rock" image, Rob Zombie will always draw comparisons to Alice Cooper. However, that isn't the only reason why Alice's name keeps getting thrown around. As it turns out, Venomous Rat Regeneration Vendor was produced by Bob Marlette--the guy who produced Alice Cooper's foray into the darker industrial side of metal, Brutal Planet, back in 2000.

While the industrial Alice Cooper-y hard rock sound is at the forefront of Venomous Rat Regeneration Vendor, there are some significant departures from that. "Theme from the Rat Vendor" is a short but noteworthy instrumental with psychedelic and Eastern/Indian characteristics. The strangely danceable "Rock and Roll (In a Black Hole)" begins with a dark electronic beat but takes on a moshing metal style for the chorus. With it's fascinating lyrics mentioning Captain Kirk and black holes, I'm all over this one.

"Ging Gang Gong De Do Gong De Laga Raga" deserves some kind of award for its crazy title. Hell, I deserve some kind of an award for spelling it out! I like to pretend it originally meant something, like how "In-A-Gadda-Da-Vida" was supposed to be "In the Garden of Eden".  The lyrics are just as interesting as the title. No matter how many times I listen to this song, I never cease to be amused by the line, "Strapped behind the wheel of a flat-bed truck / A payload of pussy and Peking Duck", which starts off the chorus. Musically, it features elements common to many of Zombie's other songs, but "Ging Gang Gong De Do Gong De Laga Raga" is certainly one of a kind. It's awesome regardless, but the more you listen to it, the cooler it gets.

Venomous Rat Regeneration Vendor also features a live cover of Grand Funk Railroad's classic, "We're An American Band". I've been fortunate enough to see Rob Zombie live, and this recording spectacularly captures the band's energy and sound. Rob's vocals are gritty, soulful, and full of power, and John 5's guitar work is electrifying. The band really does this song justice, and they don't do anything too wild with it. It's basically a heavier version of the original, but it too good to go unnoticed.

The album ends with "Trade in Your Guns for a Coffin". The intro guitar riffs are low and fuzzy, and with a giant screech they get louder. It actually sounds as if the music gets closer. "Trade in Your Guns for a Coffin" contains clever lyrics about the misplaced priorities of today's youth--laziness, apathy, and self-serving attitudes. One line about the constant pursuit to get high--"Baby's shootin' vodka in her eyes again", particularly stands out. The chorus of "It's why we suck and why we fuck / Alright! Alright! / Trade in your guns for a coffin / Alright! Alright!" is lively and catchy. This is a very energetic and hard rocking song with some thought-provoking commentary on society.

Venomous Rat Regeneration Vendor is a fantastic metal record with industrial, psychedelic, and classic rock overtones. It has all the things you would expect from a Rob Zombie album--overt sexuality, horror, and the use of sound clips from cult films and pornos. Nobody else sounds quite like Rob Zombie. So, unless he completely changes his musical direction--which in itself would be horrifying--his records will be familiar. While there will always be this familiarity, Venomous Rat Regeneration Vendor does sound new, creative, and modern. It leaves a solid lasting impression, and with the right exposure, it could become as memorable as his more venerated earlier works.

8 1/2 out of 10 stars

Zodiac Swan Records/T-Boy Records/Universal Music Enterprises
Official Rob Zombie Website

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Raw rock sounds explode from Corporate Dynamite

Iowa's Superchief are not your typical metal band. Their debut full-length album, Corporate Dynamite, boasts an unpolished sound and their no-nonsense approach makes them difficult to categorize--but that's not necessarily a bad thing.

Corporate Dynamite's opening track is "Fear No Shield". Part I of the song is named "The Getaway". It has an acoustic guitar intro that is very medieval sounding. Heavy electric guitars soon kick in, lending a bluesy hard rock feel. As Haldor Von Hammer's low, rough vocals hit, he sings intensely and powerfully. The song's main riff is catchy, and the bass line is deep and striking. "The Getaway" ends in the acoustic manner in which it began, but the song continues as Part II: "The Standoff" for another two minutes. It incorporates similar themes as in Part I, but with a heavier sound.

Following "Fear No Shield" is the intriguing "Odin Be Praised". This song wastes no time being hard and heavy right from the start. Von Hammer's intense singing style is very obvious on this track, as it becomes so vehement. The way he sings the line "Good GAWD / Mah LAWD / I gotta get my friction on!" in the chorus amuses me to know end and makes this song so memorable. The vocals aren't the only stand-out part of "Odin Be Praised." It features a good guitar solo accompanied by some seriously heavy drumming. I also enjoyed the Viking imagery in the song, as it fits really well with the rock 'n' roll image and attitude.

Corporate Dynamite's title track has a brief spoken intro, which sounds like a police scanner type radio playing a conversation between two men about a building that's on fire. One of them slowly and very deliberately says "burn baby burn" right before the music hits. The music itself starts with a heavy bass riff from Jason Boten, then Ricc Terranova and Jason Monroe join in on guitar. Von Hammer's vocals are his most forceful yet, as he sings about rebelling against the corporate world and "sticking it to the man". The chanted "Stand up! My fist raised!" lyric is just as stirring as it is catchy.

The album's final track, "Destiny's Child", begins with the barely noticeable sound of someone racking the slide on a gun. It's so quick you just might miss it if you're not paying enough attention. Drummer Ryan Marcum starts playing a slow march and the guitars are gradually added into the mix. The guitar is a lot mellower on "Destiny's Child" than the others, and the tones often sound much brighter. This overall bright sound contrasts with the rather harsh vocals that appear on this track. Occasionally, the vocals do lighten up, especially at the end of the refrain.

"When the Bear is Hungry (He Will Eat)" is Corporate Dynamite's fun and light-hearted bonus track. It is predominately the title repeated over and over with shouted backing vocals, but it's actually a cool song. The guitar solo is brief, but it is very good--much better than what I expected from such a goofy song.

Although the shortest song from Corporate Dynamite clocks in at 3:41 ("Odin Be Praised") and the longest at 7:06 ("Fear No Shield"), many of the songs feel like they drag on a bit.

This probably has something to do with the Superchief's style, which is kind like the metal version of a jam band. Clutch is the only band I can think to draw a comparison with.

Superchief's Corporate Dynamite has such an unrefined sound. Listening to it almost feels like listening to a demo, but a well put together one. The album's name Corporate Dynamite and the ongoing theme of rebellion lead me to believe that this is just the sound Superchief was going for. They definitely succeeded in getting their point across. Superchief's particular sub-genre of metal is hard to pinpoint, but any rockers who are into the bands like Clutch--and others that play the bluesy and seemingly endless jam session type songs--will certainly enjoy this band and their album Corporate Dynamite.

6 1/2 out of 10 stars

Brolester Records
Superchief on Facebook

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