Soul Bomb!

These guys hail from Ottawa, Ontario, Canada, and they are exploding onto the alternative, hard-rock scene with the sneer of AFI and the grit of Creed.
Comprising members Ian Bouchard (lead vocals and guitar and co-founder), Paul "Laffy" Lafreniere (guitar and vocals), original bassist and band co-founder Mathieu "Math" Menard, and Nicolas Grant (drums), Soul Bomb delivers an intoxicating blend of cold, techno sounds married to sharp alternative guitar riffs.
The first song I listen to by these bombastic rockers is "Tragedy," off their new upcoming album. Starting with a strong drumbeat, and a heart-pumping bass from Menard, "Tragedy" then launches into an anthemic chorus cut by a great keyboard and killer guitar riffing by Bouchard and Laffy. Bouchard's lead vocals pick at your ears with a hypnotic tone, then tear you apart when you reach the chorus, and when you least expect it. Perhaps even better than that is the thrown in Nine Inch Nails-like synth-beat, or the sick, face-melting guitar solo. God, it's killer solos like that that make me hyperventilate.
After "Tragedy" ends, it's on to "Broken Down Angel," a harsh, seemingly Metallica-inspired track with vocals that would make HIM and AFI jealous. I swear I hate myself for not writing this guitar riff; it's like my ears are drugged out and having epiphanies of their own. The drums on this are a little scaled back, but still "Keith Moon" enough to keep the song rockin' hard. A particular favorite part in this song for me happens around 2:25, when Bouchard and Laffy match guitar licks, just with one higher on the fretboard. The result? A killer, Metallica-like wall of sound.
The next song I won't spoil too much. "Zhang Philosophy" is just pure and simple a testament to face-melting alternative-metal guitar. It screams HIM and AFI, and the bass and drums remind me so much of Disturbed that it's a little creepy. And by the way, Lafreniere's guitar solo around 3:00 just serves to prove that metal is alive and well. I think Tipper Gore would have a heart attack.
I'm almost a little confused when the next track comes on, because it's so starkly different from the previous ones. It relies more on keyboards than the tracks before it, and the tempo is much slower; more hypnotic. It almost reminds me of Scorpions' "Still Loving You." "Crazy for Loving You" just sweeps you away in a hypnosis of sound, a trance of emotion. Bouchard's vocals on this are so slow, they convey an almost romantic effect that just sends chills up my spine.
Though "Asleep at the Wheel" and "Got to Get Away" are also amazing tracks, the last one I'm going to cover is "Distortion Girl," a punky-synthed out number that just screams club song. The vocals in this song have gone from hypnotic to straight-out creepy. And I love it. If that's not enough, though, try on the sleek synth-accompanied chorus for size. I swear, you'll be humming this all day to the point of it driving you up the wall. Brilliant. I tell ya, if I were a major label, I'd get my ass in gear and sign these guys quick before anyone else found out about them. Soul Bomb just finished their first full tour this past September in Ontario, with dates at Micky J's in Timmins on 9/10, The Townehouse in Sudbury on 9/12, and later at The Kathedral in Toronto on 9/20, and at The Legendary Red Rooster in Burlington on 9/23. These guys won't stay secret forever, and the guy who signs this Canada quartet is gonna feel like he won the lottery when he does. No doubt.

Sounds Like: HIM, AFI, Metallica, Creed, Nine Inch Nails

Key Tracks from Soul Bomb: "Tragedy," "Distortion Girl," "Broken Down Angel," Crazy for Loving You," "Zhang Philosophy," "Got to Get Away"

Check out Soul Bomb more at: http://www.myspace.com/soulbombband

Cube41: They've Got Your Number

From Verona, Italy, I introduce to you this shot of adrenaline to your blood system. Cube41 was today's pleasant surprise for me, and I gotta say, they're one incredible surprise. This quartet take Justin Timberlake-inspired pop and shoot it up with the speed of HIM, the sneer of Smashing Pumpkins, and the sing-along, anthemic choruses of AFI.

Made up of Filippo Cordioli (vocals), Fabio Lonardoni (guitar), Mattia Callian (bass), and Alberto Bonomo (drums), C41 bashes out song after song with dark lyrics and just incredible guitar riffs.

The first song I listen to by them is "Nasty Mind," from their EP PLAY, and from the first chords I'm addicted to this song. Already I've listened to it three times. In fact, the very first few seconds of it sound almost like Disturbed's "Inside the Fire." Quickly, though, Cube 41 move away from the Disturbed sound, and set upon their own formula, launching into a fantastic, catchy verse followed by a bombastic chorus. Cordioli's hypnotic vocals have me in a trance, spinning my head round and round, with sudden shudders at the beat of every drum by Bonomo. Just like the song's chorus, I'm taken over. Lonardoni's sick, distorted riffing resembles groups like AFI and HIM just enough to set them in the alternative-metal/pop-punk genre, yet differs enough to give them their own distinct groove. And what a magnificent groove it is. The only other thing I can say about this song, other than the pounding bass line, is that if there ever was a song to be played at a club, this would be it, no question. And just when I think it's gonna end, Bonomo's drum roll sends me back into a pulse-chasing chorus. Fantastic.

"Nasty Mind" is followed by "Just Keep Walking," another alternative style song that rails off on a strong drum beat from second one. But don't be fooled, this one has Cordioli's seminal hypnotic vocals too, so cold and trance-like they sound like the vocals of the future. Lonardoni's guitar is scaled back a little in this one, relying more on sharp distortion and palm-mute stokes to carry the melody of the song. It seems that the song relies heavily on Bonomo's Keith Moon-like drumming, and Callian's Cliff Burton-like bass skills. Yet coupled with Cordioli's vocals, and Lonardoni's ambient guitar chords, this is one song to not be forgotten.

The last song I listen to is "A Word to Say Goodbye," a slower, more techno-ish song. In fact, if I had to imagine what a techno ballad would sound like, it would be this; slow, ambient, introspective, powerful. Bonomo's drumming is minimalist here, but for the great benefit of the song. Drummers don't have to be loud to be powerful. Callian's bass, too, seems scaled back, but is still evident just enough to carry the song on its slow, pumping bass lines. And with Lonardoni's eased-back guitar, just under Cordioli's lamenting vocals, "A Word to Say Goodbye" presents an almost romantic tone. Listen to these guys. Italy will know them before long. And so will we.

Sounds Like: AFI, HIM, Smashing Pumpkins, Disturbed

Key Tracks from PLAY: "Nasty Mind," "Just Keep Walking," "A Word to Say Goodbye"

Check out Cube41 more at: http://www.myspace.com/cube41, http://www.cube41.com/thecubeENG.html and http://www.unsigned.com/cube41   

Dry as a Can

If you're a grunge fan or even if you're not, and you were alive in the late '80s, you've probably heard of Green River's seminal grunge album, Dry as a Bone. This album, if you haven't heard it, was a major step forward for what would become termed the "grunge" sound. Now I know so many critics hate that term, but that reality is that that's what people discern groups like Nirvana and Soundgarden as, whether they like it or not, so that's the term I use. But I digress.

I present to you, one of the best grunge, or post-grunge if you prefer, groups I have ever heard. And they are as far from Seattle as probably humanly possible. 

Out of Paris, France, I give you Dry Can, a quartet specializing in the grunge arts in a way so many have forgotten how. Comprising Antoine Abinum (vocals and guitar), Anne Lupieri (vocals and guitar), Olivier Crescence (bass), and Pascal Desmet (drums), Dry Can just floored me from the first song with how unbelievably they brought the grunge sound back to life. Seriously, Mark Arm of Mudhoney or Jerry Cantrell of Alice in Chains would be floored by this group. Not in so long have I heard such sick guitar, with such heavy bass and drums that was put out by a band post-2000.

From the first notes of "Wherever I Stand," off their EP Something Like That, DC just launches into it, with guitars that sound like Alice in Chains and Mudhoney, while Abinum's vocals would make Eddie Vedder (Pearl Jam and Temple of the Dog) and Chris Cornell (Soundgarden and Temple of the Dog) punch their fists in the air with wild abandon. I think the only thing that makes this song any better is the heavy, Nirvana-like distortion of the guitar that would make Kurt Cobain proud. In fact, for those of you who are big grunge fans, the vocals towards the end remind me of another lost hero: Andy Wood. Something about this song just screams Malfunkshun and Mother Love Bone, and for that alone I'd recommend this EP to anyone. 

But that's not all there is. I quickly move on to "Wild," a song that seems to play with the tempo in a way only Mudhoney might, or even Melvins would. And, ironically, there is evidence of the early '90s, post-grunge, here, with the addition of a melody that makes me think of Gin Blossoms or even Third Eye Blind. But that's only for a minute, as I'm once again plunged into a dirty, distorted guitar solo that makes me sort of drool a little, because I can't believe this band isn't as big as Mudhoney or Green River.

The next track, "Leader," screams Soundgarden and Louder Than Love in a way I thought only Soundgarden could. But there's nothing poseur-ish about this song. It's not trying to be Soundgarden, it's just rocking-the-hell out. Chris Cornell, you better give these guys the respect they deserve. I think I even hear a little Superunknown in there. Brilliant. And then I hear a Sonic Youth/Pixies influence, as Anne Lupieri lays down some smooth female vocals before the song launches into a metal-meets-psychadelic guitar solo.

As the last guitar chords drain out in feedback from "Leader," I'm thrust into the last song, "Ring," with a stunning force. Settling on an easy bass-line for the verse, DC changes it up here, having Lupieri on lead vocals, experimenting with a Sonic Youth/Candlebox/L7 sound. With the sultry style of Kevin Martin (Candlebox), the melody of Kim Gordon (Sonic Youth), and the ferocity of Donita Sparks (L7), Lupieri layers the distorted guitars with a set of almost toxic vocals that just ooze out of the speakers. Quite possibly one of the best EP's I've heard in years. Every song amazingly well crafted, every song an asset. Brilliant. I highly suggest listening to this EP. It will turn your blood to acid and have you begging for more.

Sounds Like: Mudhoney, Alice in Chains, Soundgarden, Sonic Youth, Mother Love Bone, L7

Key Tracks from Something Like That: "Wherever I Stand," "Wild," "Leader," "Ring"

Check out Dry Can more at: http://www.unsigned.com/drycan, http://www.myspace.com/mydrycan and http://www.drycanmusic.com/      

Radioactive Fusion

It's with great pleasure that I introduce this radioactive alternative-metal band. Fusion hale from Paris, France, whereupon plugging into their speakers, they douse the audience with a chemically intensive dose of alternative rock. Well, I haven't seen them, but I would like to, and I'm definitely sure that that's what happens.

Made up of Clement (vocals, guitar and piano), Rafael (guitar), Marc (bass), and Alex (drums), Fusion produces a fantastic progressive sound that would make Pink Floyd happy while still providing a testament to their alternative and metal heroes, Green Day, Metallica, AC/DC and Queen. 

The first track I listen to off their EP Replacing the Sun is the title track. Interestingly enough this track sounds more indie-rock than progressive, but still offers a Pink Floyd-ish guitar riff along with a rhythmic bass line and snare/high-hats drum beat. Clement's vocals of this one just soar above the guitars and drums. The beginning guitar riffing is a little choppy, but it seems for the benefit of the song, adding to the radioactive nature of the song. The guitar solo that shoots from the speakers at about 2:47 has a Scorpions style to it, though of a more darker nature. Love it though. It's like Pink Floyd meets Scorpions, with the dark vocal melodies of HIM and Metallica. 

Then I move on to "Universal Love," which starts with a mystic guitar riff, like something I'd here off a Sgt. Pepper's-inspired album. The bass in this song is particularly powerful, just encasing you during the verse, as it seems the only instrument being used (aside from the snare beats, and the sparse, Pixie-like guitar notes behind it). This song perfectly exemplifies the quiet-loud dynamic pioneered by Pixies and made popular by Nirvana. It's so sparse and quiet during the verse, I feel like I could almost tear the song apart, if that makes any sense. But once that chorus comes it, all hell seems to break lose. 

Though the two tracks I listen to before it are also good ("The Bastard" and "Life Me Higher" (with great piano towards the end of the latter)), the last song I listen to from the EP, "Muse," just strikes a deeper tone. It's slow, surreal nature just scream Pink Floyd, but what's interesting is the abrupt change in tempo about two minutes in which seems reminiscent of a Rush song. It is a haunting number, yet almost romantic in a way, which just adds to the pleasure I take from listening to it. Also, the dual lead vocals, and the Metallica-like guitar solo (layered above the Keith Moon-like drums and Cliff Burton bass style) just make "Muse" one of the must-hear tracks from the EP. How appropriate that this is the last track on the EP. People say finish strong, and with this song, there is no way that Fusion finished anyway but.

Sounds Like: Pink Floyd, HIM, Metallica, Scorpions

Key Tracks from Replacing the Sun: "Replacing the Sun," "Universal Love," "Muse," "Lift Me Higher"

Check out Fusion more at: http://www.unsigned.com/fusiontherockband and http://www.myspace.com/fusiontherockband

What Is Human Shame??

I came across these guys while surfing music from other countries. Rising from Toulouse, France, Human Shame are a mix of groups like Pink Floyd, The Cure, Radiohead, Nine Inch Nails, and so many other off-the-wall experimental groups that the only way I can possibly describe their sound is as "mental alternative;" menternative.

Comprising Artess (synths and vocals), Sarg (guitar), Nemo (guitar), and Sha (drums, synths and programming), Human Shame is a not-so-subtle smack to the senses with their weird sound. Weird is definitely the right word, but that doesn't mean bad. These guys just march to the beat of a different synth, and it just works well. In fact, during some of the tracks I had chills running up my spine because it sounds eerily similar to something Marilyn Manson might write.

The first track I listen to is "The Runner," a synth-inspired song with a trance-like, industrial feel to it. For those of you who like anything trance, industrial, house, or ambient, this is a great track to start with. However, I warn you, you must also have a liking for the gothic sounds, because this is not a happy sounding song. And I love it. It's hideously dark like Marilyn Manson or HIM, yet as ambient as Pink Floyd or NIN.

Three minutes later I move on to "Human Shame," the title track of the groups album. Starting with a synth-like intro, the guys move into distorted guitar-driven chorus-ish thing. In fact, the way the guitar distorts reminds me a little of the way Mudhoney sounds, or even Malfunkshun, so in essence, I guess it sounds like Marilyn Manson married to Pink Floyd, with Malfunkshun as their step-child.

The third track, "New War," reminds me most of an NIN song, because listening to this, I definitely think this is something Trent Reznor might write. It's just creepy as hell, and that's why I love it. Sometimes music should be just vague enough to creep you out and make you look over your shoulder at night. Now that I think about it, this would definitely be a great track for like a horror movie theme song. Ambient, trance-like, perfect. Love it. 

Sounds Like: Nine Inch Nails, Radiohead, The Cure, Malfunkshun, Pink Floyd

Key Tracks from Human Shame: "The Runner," "Human Shame," "New War," "Eat the Liar"

Check out Human Shame more at: http://www.myspace.com/humanshamemusic and http://www.unsigned.com/humanshame  

Introducing....Marisette!

I came across this group a couple weeks ago, when they were working under the name The Champagne Charade. Now they're Marisette, and they have something to say.
Now because they have a female lead vocalist, so many people, music critics especially, would just be itching to compare them to already known acts; Evanescence, Paramore, Flyleaf, and on and on. But listening to these guys (and girl), the thing that occurs to me is that they're not like these other groups. They have their own style, their own sound, and their own groove.
Composed of Saetia (lead vocals), Rob (guitar), JD (guitar), Nick (bass), and Paulie (drums), Marisetta features strong female vocals over layered guitar and rolling drums to produce a very hard-rock, yet not too overpowering sound.
The first song I listen to is "Chasing Down the Sunset," (in fact this was the song that kindled my interest in them a few weeks ago). Starting with a crisp guitar riff that crunches you, Seatia slides in on smooth vocals amid a sing-along chorus and a head-banging bass line. One of my particular favorite aspects of this song is the sick mini guitar solo right after the first chorus. So many groups use a "proven" format of verse, chorus, verse, chorus, solo, chorus, chorus, and that gets so boring. But these guys know that it's a crock of shit to write every song like that and shake it up a bit. Also the sky-reaching vocals during the interlude don't hurt either.
Their self-titled debut continues with "Death Walks at Midnight," a metal-inspired (or so it seems) song that screams '80s in the first 30 seconds. That just makes me happier though, seeing as I'm a big metal fan, and commend current groups for using the great '80s' sound without wearing it out. Seatia adopts a new style of vocal on this one, opting for a darker, almost more ominous tone, as Rob and JD go to town slinging '80s guitar riffs and licks. Also, around 3:04 is a sort of intermission I'd expect out of a Metallica song, and the guitar solo that follows just leaves me wanting more.
"Lipstick Scars," also, opens with a sweet riff that you can sink your teeth into. One of those songs that showcases Paulie's fantastic talent on the drumkit and Nick's rhythmic bass plucking. Above it all is Seatia's voice, carried by Rob and JD's hard-rock influenced fretwork. When the solo comes in on this one, I just sit back and lose myself in it, drooling a little lol.
The last track I'll review (because I don't want to spoil it anymore than I already have) is "Tainted Blood," a sick metal-influenced track that makes use of the metal guitar solo and full-band chants early in the song: about 6 seconds in. This is just one of those songs I want to bang my head to, and even if I didn't, I don't think there's anyway I could stop.
There are so few times when you just know someone is going to be huge, but this is one of those times. These guys are incredible, and I challenge anyone to listen to them and argue differently.

Sounds Like: Lita Ford, Paramore, Evanescence

Key Tracks from Marisette: "Chasing Down the Sunset," Death Walks at Midnight," "Lipstick Scars," "Tainted Blood"

Check out Marisette more at: http://www.myspace.com/marisette

And From Above...Apollo

Is folk dead? Now as one who's not much of a folk fan I might say yes. That is until I heard this group. A punky indie four-piece out of Birmingham, England, Apollo is an indie rock group that revives some of the simple, acoustic sounds of folk and marries them to punky indie hooks and quirky rock rhythms.

Made up of Zak Edwards (guitar and vocals), Mick Fenton (lead guitar), Paul Hudson (bass), and Paul Byrne (drums), Apollo delivers catchy hooks and incredible guitar licks all over their EP, M. The first song I listen to is the short, acoustically-driven "M," the closest in this groups set-list to folk-rock (in my opinion, that is), and an incredible song. Riding on the ringing notes of Fenton's and Edwards' guitar playing, and Edwards' sultry vocals through the first verse, Hudson quietly joins on the bass, and Byrne comes in on a nice, chilled-out drum beat. Towards the end of the short number, Fenton takes the guitar from a folk-inspired sound to a hard-rock one, almost emulating a sound something like Stevie Ray Vaughn. 

Next it's on to "Rinky Dink," a faster, much more punk song that blends Byrne's snare and high-hats with a distorted riff set down by Fenton (and Byrne's fantastic and unexpected drum rolls don't hurt at all). Under it you can hear the soft, yet strong, plucks of Hudson's bass, and over it all, Edwards' smooth vocals. Then I'm soared away on Fenton's killer guitar licks, distorted and almost messy, with a somewhat Mudhoney effect. Fantastic.

The next and last song I listen to, "Velvet Sky," showcases the group's pride in their home and heritage by maknig use of a sound I can only compare to The Beatles. And even if this wasn't their intention, it sounds awesome, and when someone says you sound like The Beatles, that's always a compliment. "Velvet Sky" relies more on Byrne's drumming that the previous two, and it's all that much better for it. A straight-laced rock and roll-sounding song, definitely one of my new favorites of the week. And Fenton's Clapton, Cream-like guitar shredding towards the end just shows me more that these guys are going somewhere, and they know it. 

Sounds Like: Cream, The Beatles, The Who, The Stone Roses

Key Tracks from M: "M," "Rinky Dink," "Velvet Sky"

Check out Apollo more at: http://www.unsigned.com/apollo