Author Archives: Real Gone

New video with Death Angel guitarist posted online

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A new twenty-two minute video interview with Ted Aguilar has been posted on YouTube.

The Death Angel guitarist was interviewed by Robb’s MetalWorks and the chat covered a wide range of topics relating to the band’s quarter century history.

This year, the band have spent time on the road with Anthrax and Testament, as well as having re-issued their long out of print debut ‘The Ultra-Violence’ for it’s twenty fifth anniversary.

To view the clip, click the embedded box below. To view other interviews by Robb’s MetalWorks, click on the YouTube logo in the bottom right of the box.

New video from Swedish power poppers Rooni

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In September 2011, singer-songwriter Gustav Nilsson released the ‘Makeup On, Letdowns Off’ EP, a mixed bag of pop and rock tunes.

He’s back, fronting a four-piece band named Rooni.

The band will release their first single ‘Run (Into My Arms)’ digitally on October 28th, although the band have also said that a very limited number of physical copies will be available for those daring enough to answer some personal questions.

Check out the animated video for ‘Run (Into My Arms) below.

TRUE HEARTS – True Hearts

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Originally formed as The Flirt in 1979 but quickly renaming themselves True Hearts, this Texan band released a largely overlooked EP on Counterfeit Records in 1980. Eleven songs were recorded with the intent of releasing a full-length LP, but that never actually came to fruition.  Over the next couple of years, True Hearts suffered personnel instability and subsequently disbanded in 1982, leaving most of their recordings unheard.

Over thirty years on from the recording of that shelved LP, the eleven songs recorded by True Hearts’ original line-up were compiled for a belated CD release.  The result is a disc which shows a band who, with a better start and a little sharpening up, could have been peers with Pezband, Off Broadway and 20/20.

With a winning combination of an accessible melody and simple chorus hook, ‘Not Tonight’ captures the band’s sound well from a musical perspective.   Throughout this opening number, guitarist Manuel Martinez puts in maximum effort and subsequently steals the show with his mix of new-wavish rhythm work and ringing lead parts (the first of which dominates the intro).  Similarly, there’s some great stuff occurring behind the drum kit, as Rick Holeman throws in a few interesting fills and some unexpected bell sounds.  In theory, these great elements should have made a killer track.  On the rather more unfortunate side of things, lead vocalist Terry Carolan has a voice that isn’t always the easiest to like.  His poppy croon wavers a little off key, something not helped by backing vocals which seem equally slapdash.  Much better, ‘I Need You All The Time’ is a harmony driven pop-rocker which is good as any the early eighties offered; with the addition of a few keyboards, True Hearts sound more assured, while chorus-wise this tune really hits the spot.  In terms of influence, a little Raspberries, a little Cheap Trick and a whole lotta Pezband makes a winning formula.  The piano driven ‘If I’m Late’ shows a quirkier side to the band with stabbing rhythms, a wandering bass part and some pompy vocals providing plenty of bounce.  Given the lack of guitars on this number, you’d think that Carolan would falter vocally, but he sounds very natural – complimenting the music well, even – leaving you to wonder what had gone so wrong on ‘Not Tonight’…

‘Girl In a Men’s Magazine’, on the other hand, is bad both musically and lyrically.  Its stark musical arrangement presents a piano waltz underpinned by synth sounds.  Lacking in any bass, drums or guitars, this leaves everything sounding really twee.  While Carolan’s vocal holds its own, his lyrics concerning a pin up (and the teenage wanting thereof) are just cringe inducing.  A fuller musical arrangement may have helped disguise the bad subject matter, but it still would have been pretty bad.  Luckily, since this track is barely a minute and a half in duration, by the time you’ve realised how awful it is, it’s very nearly over.  What follows is one of the album’s best.  ‘Trust Me Candy’ cashes in on a great harmony filled chorus, chiming chords worthy of The Knack and a relatively decent guitar solo.  There are a few rough edges here (a couple of dodgy notes in the solo and a slightly flat sounding drum), but that’s all part of its overall charm.  Connoisseurs of power pop from between 1977-1980 are sure to find an instant familiarity, but then, that’s no bad thing.

Rather more upbeat than most of True Hearts’ songs, ‘Sleep Tight’ melds classic power pop with a slightly trashier rock ‘n’ roll aesthetic, allowing guitarist Martinez to cut loose on a couple of raggedy solos while Carolan pushes his voice to the limit.  Had the band given this to Cheap Trick instead, it wouldn’t have sounded too out of place on their earlier records.  A double whammy of enjoyment, ‘Hold Me Close/Don’t Stop’ at first mixes reasonable harmonies with a few power chords, resulting in a solid outing on which Carolan sounds better than usual.  As good as this is, it’s the track’s second part (‘Don’t Stop’) that’s the clincher. Holeman attacks his hi-hat and snare with the kind of vigour not always evident on the rest of the disc, while the rest of the chaps also appear a little more aggressive.   Overall, there are no huge surprises, but here – as with ‘Sleep Tight’ – you’ll get a brief glimpse into how great True Hearts could be if/when they really tried.

Despite a few iffy vocals – and the fact that these recordings have moments where all four band members seem almost incapable of achieving musical greatness at the same time – there was obviously a reasonable amount of talent within True Hearts.   Based on these songs, they aren’t quite as enjoyable as some of the similar bands from the period (especially Pezband or Tommy Tutone), but given a better chance, who knows what they would have achieved?  What we are left with is a curio that captures an emerging talent which, for fans of late seventies power pop, is a fascinating look at what might have been.

October 2012

Devin Townsend Project / Gojira: North American tour dates

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Progressive metal god Devin Townsend will tour part of the US on a double headline bill with French metallers Gojira throughout January and February 2013.

The confirmed dates are as follows:

Jan. 14 – Mill City Nights – Minneapolis, MN
Jan. 15 – Garrick Centre – Winnipeg, MB
Jan. 16 – Odeon Events Centre – Saskatoon, SK
Jan. 17 – MacEwan Hall – Calgary, AB
Jan. 19 – Vogue Theatre – Vancouver, BC
Jan. 20 – Studio 7 – Seattle, WA
Jan. 21 – Hawthorne Theatre – Portland, OR
Jan. 23 – The Fillmore – San Francisco, CA
Jan. 24 – Ace of Spades – Sacramento, CA
Jan. 25 – Henry Fonda Theatre – Los Angeles, CA
Jan. 28 – Marquee Theatre – Tempe, AZ
Jan. 29 – Sunshine Theatre – Albuquerque, NM
Jan. 31 – Granada Theatre – Dallas, TX
Feb. 01 – White Rabbit – San Antonio, TX
Feb. 02 – Warehouse Live – Houston, TX
Feb. 04 – State Theater – St. Petersburg, FL
Feb. 05 – The Masquerade – Atlanta, GA
Feb. 07 – Rams Head Live – Baltimore, MD
Feb. 08 – Irving Plaza – New York, NY
Feb. 09 – Mr. Smalls – Millvale, PA
Feb. 12 – House of Blues – Chicago, IL
Feb. 13 – Phoenix Concert Theatre – Toronto, ON
Feb. 14 – Le National – Montreal, QC
Feb. 15 – The Palladium – Worcester, MA
Feb. 16 – Theater of Living Arts – Philadelphia, PA

Townsend released a new album ‘Epicloud’ in September 2012. Reports suggest he is in the process of demoing new material for a follow up release.

ANIMAL PARTS – Animal Parts

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Considering this self-titled offering is only his second release, Animal Parts’ frontman Joshua Cockerill demonstrates an excellent gift for song-craft, certainly one beyond his relative inexperience. Plenty of rootsy moods, a little pop and a few strong narratives each come together to make a record that has plenty of emotional pull.

The quirky ‘Poets’ is an instant standout, it’s mix of acoustic guitar, new wave keyboards and handclaps come together in a way which manages to be reminiscent of an early 80s power pop band reimagined by Wilco.  Vocally, the underplayed harmonies are great, while with his lead vocal delivery, Cockerill knows he has a natural sense of style – he doesn’t have to use any quirks or unnecessary affectations to catch the ear.  Another great jangler, ‘I Won’t Ever Let You Down’ breezes along with a sunny optimism, its tune recalling the best indie-pop of the 1990s.  While the bouncy air and simple chorus are the things which are likely to be considered the most striking about this particular number, its bass part should not be overlooked – the production values here really bring out the best in the performance.  It may not be completely original, but it is so well performed, it’s near impossible to dislike.

Although never flashy, ‘King of Kings’ is another instantly likeable offering, again hinting at a love of 90s jangle-pop/indie.  Throughout the bulk of this tune, Cockerill and his Animal Parts sound positive, bringing a real spark to their performance.  Despite this, it is not the song’s main part which ends up being its most memorable (even with a drum part that tips the hat to Phil Spector…) The real stroke of genius here comes during the songs coda, where Cockerill throws out huge ugly slabs of guitar drenched in levels of reverb which would befit Neil Young & Crazy Horse.  The influence here is as subtle as a brick – particularly reminiscent of ‘Don’t Cry’ from Young’s 1989 album ‘Freedom’.  Still, given this band’s Canadian heritage and their love of roots-rock, gaining influence from the mighty sideburned one was inevitable.

While those upbeat tunes sound great from first listen, it doesn’t take too long before some of the rootsier material proves to be just as enjoyable…and perhaps even more so. With just a finger-picked guitar leading the way ‘Running’ starts out very wistfully, with Cockerill’s voice taking the weight of the melody, its natural tone pulling in the listener once more.  His delivery wobbles a little, like a man who could crack at any given moment, but that’s half the charm – it’s an absolute pleasure to hear a voice that’s not been shined to perfection with various studio filters.  The slow and lumbering ‘Dream Where I Break Horses’ offers a particularly memorable lyric, blending thoughts of hours spent equine training in potentially lonely surroundings with a tune that would befit many of Animal Parts’ country-rock influenced predecessors.  The aching, country tinged lead voice works especially well with a slightly reverbed drum, electric piano and soft cello drones, creating an absolutely unmissable tune, which in the hands of Son Volt – for example – would quickly be heralded a genre classic.

Also from the top drawer, ‘The Bird Song’ places Cockerill upfront with just an acoustic guitar and quiet voice.  The finger picked acoustic notes are quiet and almost disjointed; with an incredibly sparse backdrop, the tune is wholly at the mercy of the vocal to carry any emotional weight, but the performance is more than up to the task in hand.  Fragile, beautiful, almost painful – this is Animal Parts laid bare.  A warm bass and droning crescendo fills any gaps at the inevitable climax. If alt-country is your bag, you’ll totally dig this…and then some.  It’s a close contender for this album’s finest offering, but it’s just pipped by the masterful ‘…Break Horses’.

While you may be able to spot a few obvious influences on this release, that doesn’t weaken its impact.  With a perfect balance between chirpy pop/rock and darker alt-country suffering, ‘Animal Parts’ is a great record which comes highly recommended.

October 2012