Sister Whiskey - Liquor & Poker (1993)

Well here's another classic example of a band releasing an album at completely the wrong time. Sister Whiskey, despite their attitude are way out of time, but give this opus a chance because there's some truly rocking moments on here - especially the fantastic 'Moonshine' which drives like a Rolling Stones track before hitting the listener between the eyes with it's grunge-laced pounding riff. Admittedly Dennis Lee Duncan's vocals are nothing epic, bordering on the archetype sleaze, but there IS something rather joyful and riotous about this album, the bands only release during those grunge-swamped early '90s. Slaughter's Dana Strum produced this opus, probably in the hope these guys were gonna be the next big thing although this type of blues influenced metal was already dead and buried. Props hwoever have to go to the twin guitar attack of Jack Aurora and Tyler Gentile who certainly add a dense flavour to proceedings. Elsewhere the band prove that they could have been more than just young upstarts with the Southern rock flavours of 'Excuse Me' and the Stonesy sway of 'Can You Satisy Me' which is more than happy to stagger from the bar with it's Faces vocal drool.
Overall nothing ground-breaking, but good for them for giving two fingers to the grunge fraternity.
6.5/10

Chastain - Instrumental Variations (1987)

The shred-meister's debut album (under the name Dave T. Chastain) may have confused some metal-heads, after all, who'd really want to buy an album and then find out there's no vocals on it. Even so, Chastain was the sort of metal musician who could draw you in with his fiery chords, blazing solo's and intricate riffs. 'Instrumental...' is simply Dave T. Chastain and Ken Mary, nine thrillingly majestic heavy metal tunes which would've benefitted even further by the addition of a vocal threat - thankfully Chastain would eventually enlist the talents od Sledge Leather (who appeared on his 1985 opus 'Mystery of Illusion' also reviewed on here), but that's not to say that 'Instrumental...' isn't a rollicking good lsten. Of all the metal muso's out their shredding for a living Chastain is one of the best. You only have to dive in head first on album opener 'Now or Never' to appreciate the man's talent, 'It Doesn't Have To Be,' 'The Oracle Within' et al are all astonishing instrumentals very much touching upon complex thrash and raging metal - but naturally there is a classical influence but such are the wonderfully orchestrated textures that 'Instrumental...' isn't just an album for the guitar masturbators out there. Many guitarists do have a tendency to overelaborate, but here Chastain keeps each track down to around the four-minute mark making 'Instrumental...' are a rather joyous experience. Cool cover too, making a change from the usual artist on the front holding a guitar gimmick.
7/10

Dear Mr President - s/t (1988)

Another alternative oddity - this is right up the same back alley that spawned the likes of Saigon Kick - especially if you dig sultry vocals. This very much pop-tinged rock - nothing overtly metal about it, but once you let a track like 'Hey Daddy' into your system you're going to be addictive. 'Hey Daddy' is the type of track that should've been massive, an almost rainy Cult-esque cut with flaky vocals (Julian Raymond) which remind me of Mother Love Bone's genial Andrew Wood. Musiaclly it's all rather drifting, never being hard enough to rock, instead it sails aimlessly between Feargal Sharkey (yep!) and '80s Goth sprinkled with sugary, alternative aplomb. Another mini-classic is the lullaby hush of 'Faith' once again bridging the gap between UK Goth and Saigon Kick at their most lightweight - thought provoking lyrics and an air of New Romantic - and I really am addicted to this opus, finding myself consumed by it's almost downbeat yet contradictory enlightenment. Like so many cult bands these guys folded soon after, probably not helped by their name, but if you like all things flowery yet equally rainy then these guys just might surprise you and once you've heard 'Faith' and 'Hey Daddy' you'll be hooked.
7/10

Mindstorm - s/t (1987)

Mindstorm were a bit of an enigma - an often floaty heavy rock band who combined gorgeous melody, with almost progressive rock leanings, but it was the vocal approach of Travis Mitchell that shined. Somewhere between Zepp's Robert Plant, Fastway's Dave King and even Ronnie James Dio, Mitchell was very much an underrated performer - his voice often caressing the ears over similarly less offensive grooves. 'See The Future' a prime example of a band yet to find their feet (and they never did - only three albums emerging between here and 1996). 'See...' has the vocal sprinklings of King/Dio, whilst musically it's in the Kingdom Come vein of struttin' rock. Elsewhere there's the synth-throb of 'End of the Line' with its soaring keys, and whilst the sound is rarelt aggressive, it's still decent melodic metal with a strong Euopean flavour - although I was surprised to find these guys are from the US. 'Mindstorm' is a deft debut opus from a band who deserved a lot more success, but hey, how often do you hear me say that?
7.5/10

Ghost - Infestissumam (2013)

There is just something so bloody unrewarding about Ghost. Their allegedly unique brand of occult rock-pop just hasn't made its mark on me despite these guys being touted as the next best thing. I'm wondering how popular these guys might've been if they hadn't been dressed up like a Halloween party because for me this seems to be more image rather than sound. I guess if you've never heard all manner of early '70s prog-psych acts with occult influences then Ghost could be deemed startlingly original, but for me this is all rather watery despite the occasion catchy track. Finding Blue Oyster Cult, Bram Stoker, Mercyful Fate, King Diamond, blah blah, far more eerie, Ghost kinda drift by as a yellow summery haze - the vocals of Papa Emeritus II just do not reach the ears with any potency whilst his fright brogade of the Nameless Ghouls trudge away in the distance - bridging the gap between Euro pop and satanically tinged '70s plod. Sure, at times this has all the atmosphere of a crumbling, spook-infested monastery, for instance, the piano-led 'Ghuleh/Zombie Queen' is an almost pleasant seven-minute breath of fresh air - the first half of the cut the perfect soundtrack to the age of Aquarius whilst 'Zombie...' is a darkly-tinged go-go carnival of lost souls. The two main tracks of the album are the opener 'Secular Haze' with its fairground organ and churning guitar, and then there's the eerie chants of 'Year Zero' which dips into a Pet Shop Boys styled groove with the almost whispered vocals adding extra spookiness. Couple this with the tip-toe spookiness of 'Body & Blood' or creeping elusive nature of 'Monstrance Clock' there's no doubting the Munster charm of it all. However, Ghost are NOT the be all and end all of life itself, they HAVE found a niche to some extent but what they offered has the novelty of spending the night in a graveyard but which I'd become quickly bored with by the time the rain starts to fall. Occult rock IS the in thing, but there's a horrible feeling in the pit of my stomach that tells me it isn't all what its cracked up to be...
7/10

Lillian Axe - Psychoschizophrenia (1993)

For those not in the know Lillian Axe were lumped in withe the '80s hair metal brigade, but just like Saigon Kick, they were something far more than just hairspray and pout. 'Psychoschizophrenia' is, surprisngly the bands fourth album, their debut album hit stores in 1988 to little effect despite boasting some very decent numbers. One would've thought that these guys in the mid '90s would have been relatively out of place, but 'Psycho...' is a very lush, souldful and layered opus too clever for its time, like so many of these type of bands. Certainly fans of Harem Scarem, Kik Tracee, and the already mentioned Saigon Kick will find much to savour here, the band orchestrating some wonderfully upbeat, cherry-tainted rockers in the form of the sweeping 'Stop the Hate' and gloriously summery 'Moonlight in your Blood.' Sadly this opus would be the last until 1999's 'Fields of Yesterday' (which was a compilation of tracks that never made it onto the first two albums)until their resurgence in 2007 with 'Waters Rising.' Lillian Axe have had more band members than I've had hot dinners, but they've continued to write engaging, often mystical numbers with a sprig of hair metal fluff. Favourite track on the album is the heavier groove of 'Sign of the Times' but any fan of alternative-styled metal will find 'Psycho...' the most colourful of Lillian Axe's records.
7.5/10

Blood Cremony - Living With Ancients (2011)

This is quality rock from Finland - probably the last place you'd expect an occult rock band to emerge from. It seems that over the last few years a number of '70s inspired bands, tinged with occult influences, have been crawling from the dungeons, and Blood Cremony are one of the best. 'Living...' is the bands second opus, and it's a refreshing one at that, Blood Cremony happy to drift under the doom radar without fuzzing everyone out with over-elaborate and slug-like dirges, instead they have found a bit of a niche, mainly due to the dream-like vocals of Arla O'Brien who also injects a dose of woodland flute too. This is a solid record that, riff-wise, is happy to ape Sabbath at their most drug-induced and mellow, but elsewhere there's the ghoulish organ which evokes images of late '60s psych monsters, such as Jefferson Airplane, and coupled with those antiquarian lyrics this makes for quiter a creepy, creaky listen. If Jess & The Ancient Ones, or Purson for that matter, aren't quite heavy enough, then Blood Ceremony will provide that oake fix, but again, don't expect a doom drone, this is far more flaky and floaty in its approach, a record that teems with magical, and often elfish charm whilst all the while seeming knowing and authentic. Whereas I prefer Bloody Hammers to Ghost, I prefer Blood Ceremony to a whole host of doom acts, finding middle ground between Jethro Tull and Christian Mistress.
8/10