I can’t imagine Opiate for the Masses not being everywhere in the near future. The band’s latest EP, Goodbye, contains a perfect mixture of brooding lyrics, loud guitars and industrial flavor.

“The Carried”, the first track on Goodbye, reminded me of Linkin Park — more in presentation and design than sound. It’s a pop song dressed up like a rock song, the first of many on the disc. As the disc moves on, the songs begin to take on a heavier, industrial sound, without ever losing their pop flare. Of the five tracks on the EP, I can easily see at least three of them (“Running From Yourself”, “Heaven”, and the title track) becoming hit singles.

Goodbye contains huge mass market appeal. After further listening, I’d have to group Opiate for the Masses with bands like Filter and Stabbing Westward, with maybe a little Orgy thrown in for good measure. Several of the songs contain programming and keyboards, but they never dominate the otherwise rock-oriented songs.

What sets Opiate for the Masses apart from other bands of this genre is Ron Underwood’s vocals. Whether singing or screaming, Underwood’s performance remains tight and controlled. And like Underwood’s performance, the band rocks withouth ever getting too out of control. Even at its heaviest, I found myself tapping my foot and singing along to lyrics like, “I can’t get to Heaven, cuz’ Heaven’s a place that don’t want me/I can’t get to Heaven, cuz’ Heaven’s a place that I don’t wanna be.”

Opiate for the Masses is currently recording a full-length album, and if it sounds anything like Goodbye, they had better be prepared for the ride.

I don’t know why this didn’t click until after watching One Fierce Beer Run, but The Bloodhound Gang band is in essence the musical equivalent of Jackass (in turns out, in fact, that members of both camps are friends — no surprise there). Spanky G, an underage minor with heart problems and a growth defect that stunted his growth (he looks to be about twelve years old) serves as both the band’s drummer and whipping boy. You probably know a kid just like him; a scrawny, mouthy little guy who tries to run with the big dogs. But you probably never had your friends hold him down while you stuck your finger up his butthole, continually put your dick on his face, or handcuffed him, tied a pillowcase over his head, and deserted in a hotel hallway. Well, the Bloodhound Gang does all this and more, and now thanks to the wonder of digital video discs these acts and more will be preserved in all their glory for all eternity. Whee.

Fans of the band looking for live concert footage or video of the band simply enjoying the fruits of their multi-million dollar record deal will certainly walk away disappointed. Instead, the painfully-long 90 minute video largely consists of handheld footage shot on a dark tour bus. More often than not the video and audio quality is so poor that it is difficult to recognize faces or make out what is being said. This monotony is broken up with lots of shots of male genitals. I don’t understand why the self-acclaimed homophobes (the band relentlessly torments a crew member who admits to once having a homosexual experience) enjoy rubbing their dicks all over each other. Then again, one could most likely compile a long list of things I don’t understand about the band at this point. In addition to all the shitty bus footage, the disc also contains three or four videos, and quite possibly the most uninformative commentary track of all time from band member Evil Jared.

After sitting through One Fierce Beer Run, I’m not even sure what the point of this entire video was. I can’t imagine it winning them any new fans, and to be honest, it may have made this semi-fan a non-fan. I’m sure if I had the opportunity to meet the band in real life at this point I would pass (I’m not so much into other dudes’ balls, thanks). Throughout the video it’s obvious the band doesn’t even like themselves very much. They’ve had an unusually high turnover rate of members and after viewing this home video, it’s easy to see why.

This DVD should have been titled, “We’re Going To Be Assholes to Everybody We Meet During Our 15 Minutes of Fame” instead.

Nuclear Assault’s “Critical Mass” was one of those videos that just wouldn’t go away. For over a year, I saw that video weekly on Headbanger’s Ball back in the late 80’s. If you ever saw it, you’ld remember it. Along with the extremely catchy chorus, the video contained images of the band playing in the desert, Jessica Hahn sunbathing, and a one-eyed happy-face ball which bounced along with the scrolling lyrics at the bottom of the screen. Headbanger’s Ball is responsible for introducing thousands of kids to Nuclear Assault, me being one of them.

Unfortunately, the big time avoided Nuclear Assault, and in 1992 when Dan Lilker (Anthrax/S.O.D.) left to form Brutal Truth, the band quickly dissipated.

Ten years later, the boys decided to reform and play a few summer festivals. Alive Again is one of those shows, recorded live during a concert in Massachusetts. Response has been so great, that the band is planning on recording a new studio album next year, the first in over a decade.

Alive Again spans the band’s entire ten year career by including cuts from all six of the band’s studio albums. From the opening riffs of “Rise From the Ashes” to the end of “Hang the Pope,” it’s made clear to listeners that Nucelar Assault still has it.

Those who missed Nuclear Assault the first time around will be sonically transported back to the hay day of thrash music, the late 80’s. Tracks like “Trail of Tears” and the aforementioned “Critical Mass” show why Nuclear Assault became as popular as they were, and probably would have gained even more popularity had grunge not taken over the music world and kicked metal in the crotch.

Alive Again also includes a three minute interview and a three minute live video clip on the CD that you can watch on your computer. Both clips are interesting, but don’t offer enough to bring even fans back more than once or twice.

What will bring fans back, however, is Nuclear Assault. The band sounds as tight and quick as they did ten years ago. In a music scene filled with tons of genres and even more subcategories, it’s nice to hear some straight up thrash for a change. Recommended for everyone who was there at the time, and everyone else who wishes they were.

I tried. I really did. I’ve had this album sitting around for two months now, and I’ve tried like Hell to come up with an interesting, new spin that I could put on this review. But I can’t. There’s nothing. There’s nothing new about Nonpoint. And the worst part is, if you have a new band that isn’t groundbreaking, don’t tempt reviewers by naming your band something really close to “no point.” I was tempted to ask readers if maybe I missed what the “Statement” was. All a bunch of cliche’s, floating in nu-metal soup.

And that doesn’t mean I didn’t like the album – I do. It’s just not great. I liked it, I just didn’t love it. There’s nothing on the CD that makes me want to listen to it over and over. Or even a second time, at the moment.

Nonpoint borrows a little from all the big nu-metal bands out right now, and a lot from Downset and Deftones. When asked how they plan on separating themselves from all the other nu-metal bands currently out there, Nonpoint responded that they are introducing “the singing quality of music and melody back into this rock genre.” In other words, along with rapping and yelling, there’s also SINGING (like Sevendust). Revolutionary.

The majority of the album isn’t bad. There’s an awful lot of angry songs about relationships. In fact, the singer dedicates the album to “all my lost loves… thanks for the lyrics you fucking sluts, when will I learn?” Grrrr, I’m an angry singer. I won’t even type in one of the other dedications, where a band member goes off and talks about how he wishes his dad would kill himself, to spare him the trouble of doing it. Grrrr, I’m angry.

If you like Staind and Static-X and the Deftones and Sevendust and Downset and wouldn’t mind hearing another band that sounds just like these (aha, but with SINGING, I forgot!) then by all means, pick this up. It sounds like I’m being ultra-hard on Nonpoint, and I’m not trying to be. Let’s just say I doubt seriously if we’ll see a lot of kids running around with Nonpoint tattoo’s anytime soon.

The Statement this album makes is, “we can run with the rest of the nu-metal dogs.” Now let’s see if they can break free from the pack.

01. Mindtrip
02. Victim
03. Endure
04. Back Up
05. What A Day
06. Misled
07. Double Stakked
08. Orgullo
09. Years
10. Hive
11. Levels
12. Tribute

Andy called me yesterday to tell me that he had an extra (and more importantly free) ticket to see Nine Inch Nails last night at the Oklahoma City Ford Center. So after work, the two of us hooked up and headed downtown.

Andys girlfriend Lea (who does part time radio work and is friends with several people who work at the KATT) told Andy that the KATT would be broadcasting before the concert from the Courtyard Marriott across the street from the Ford Center, so after parking underground we headed over to the Courtyard to hang out for a bit before the show. Andy introduced me to a couple of the KATT DJs and we spent about half an hour hanging around and talking to Paisley and Tony Z. Paisley even had someone take a picture of all four of us together for the KATTs website. After that, Tony Z asked Andy and I if we wanted to cut some promos for the KATTs Dirty Thirty birthday party, so we both recorded little sound bites with our names and where we were from, wishing the KATT a happy dirty 30th birthday. So now we are all BEST FRIENDS FOREVER K WRITE BACK HOLLA PLAYA? Just kidding. But it was pretty fun.

Apparently we spent too much time hanging out in the Marriott because by the time we went outside the line to get into the Ford Center wrapped around a couple of times and took up most of the city block. When the doors finally opened the line moved slowly but steadily. Every person entering had to empty their pockets and be patted down from head to toe by security guards. Times have changed.

The Ford Center is notorious for having small seats (think airplane), so we were less than thrilled to see the enormous guy sitting in the seat next to mine. The guy filled his entire seat and half of mine, which was bad news for me since I fill every square inch of the seats there and Andys not exactly tiny himself. Things got better once the concert started and everyone stood up, but until then I was physically wedged up against two peoples shoulders.

The shows opener was Saul Williams. Apparently Saul Williams has two gigs; slam poetry readings, and live concerts in which he performs slam poetry readings over music. Most of Williams lyrics dealt with his urban struggles growing up black. Unfortunately, his audience was 15,000 white kids, all there to see Nine Inch Nails. As a performer, Williams stage show was largely unimpressive. Both Williams and his DJ were animated throughout the performance but there were no set pieces and no light show to speak of (other than blindingly bright strobe lights). Sauls vocal diatribes are probably very powerful in small venues, but lose something in a large arena setting.

After Williams left the stage, thick screens (I dubbed them mosquito nets) dropped down from the ceiling, blocking view of the stage. The cube was pumped full of smoke, the lights were dimmed, and Nine Inch Nails took the stage.

Despite being deeply rooted in electronic and industrial genres, there is no doubt that Nine Inch Nails puts on a hell of a rock and roll show. Trent Reznors touring band (which rotates members every tour) included bassist Jeordie White (A Perfect Circle/Marilyn Manson), drummer Josh Freese (A Perfect Circle/Devo/Studio musician) and guitarist Aaron North, who covered every inch of the stage throughout the show while throwing guitar stands, kicking over amplifiers, and even stage diving (with guitar in hand) during the middle of a song.

Of course, Nine Inch Nails IS Trent Reznor, and he did not disappoint fans. Whether standing in the middle of an intricate light show or standing onstage alone lit by a lone spotlight, Reznor both commanded the crowds attention and spent time hiding from them in the shadows as well.

The only downfall to the show was the mid-concert pacing. Halfway through the night, the mosquito-nets were once again lowered and turned into makeshift movie projection screens. Movie clips of monkeys fighting and George Bush ballroom dancing were projected onto the screens, all but completely blocking any view of the band. It was a neat effect for one song, but by the end of the third song the crowd began growing restless and I saw lots of people sitting down. The lull continued as Trent and company worked their way through some of the bands slower material. Its good to see some traditions never change the stadium was a sea of lit lighters.

Overall, the show was great (especially for the price!). Its been a long time since Ive been to an arena-type concert, so if nothing else it was nice to get in touch with how out of touch I am. ;)

Good music, good friends, good attitudes, and good work ethics can all help you in the music business, but there’s one other thing that can help just as much — good luck. So is the case with Florida’s Neurotica, who was discovered by AC/DC’s Brian Johnson purely by chance one night in a club. Johnson made some calls, got the band signed to an indie label, and produced the band’s first album, Seed. Unfortunately due to some label problems, their debut saw very little public light.

Not to be stopped, Neurotica has been working ever since then to earn what’s theirs. The band has been touring on Ozzfest this summer (making appearances on the main stage), has a single (“Ride Of Your Life”) on the WWF’s Forceable Entry album, and has just released their sophomore album. But, does the disc back up the hype?

The answer is yes. Neurotica play straight forward hard rock and roll. In a music wasteland jumbled with confusing labels, Neurotica takes equal parts of Motley Crue, Black Crowes, Guns and Roses, Buckcherry and Fuel, mixes them up in a blender, pours the whole mess in a glass and throws it in your face!

Neurotica opens up with “Ride Of Your Life”, the single which also appeared on the WWF’s latest album. It’s a good song and a good marketing idea. The pace doesn’t slow much before “All My Friends Crush You” kicks in on track four, which is the first single and video from the album (undoubtedly with the line “All my friends / they shit on you” censored in some fashion). The band pounds out eleven solid rockers, occasionally slowing down the tempo but never the momentum.

Neurotica is definitely a guitar based album. The drums and bass, while professional in every sense of the word, rarely poke their heads out from around the double axed lineup. Shaefer’s vocals swagger up front, scratchy enough to relate to the men but shallow enough to hit home with the boys.

Fans of good ol’ rock and roll should pick this disc up or try and catch the band live on Ozzfest this summer. Neurotica certainly have the chops to make it in a rock and roll world — whether or not they have the faces to make it in MTV land remains to be seen.

01. Ride Of Your Life
02. Down (I Feel)
03. Don’t Blow It Away
04. All My Friends Crush You
05. Stars In My Eyes
06. Living In Dog Years
07. Touch The Sound
08. Said She
09. Up In The Hay
10. A Lot Of The Same
11. I Like It (One Way)

My dick is so hard after listening to this demo.

Heavy, heavy, heavy. That’s one “heavy” for each song on Mourn Makes Movement’s three song demo. But what does “heavy” mean anymore? Here, it means devestating bass, non-compromising riffs, dual and dueling guitar work, and an unrelenting verbal attack … basically presenting the listener with a constantly changing musical assault, like a boxer coming at you from ten different angles at once — although judging by the sound of this disc, these guys are more likely to creep up on you from behind …

Hailing from the Northeast, Mourn Makes Movement rose out of the ashes of 8 Trak Mind. All three members of 8 Trak Mind plus two new recruits make up MMM, and in reality, that’s not a bad way to describe this band. Where 8 Trak Mind was heavy, these guys are heavier. Everything is more — the guitar work is thicker, the drumming is more complex, the vocals are better … the guys have improved their overall sound in every category.

It’s hard to drop quick descriptions of each song, as the riffs and movements change so quickly. “Failed Goal” starts calmly but builds quickly to an aggressive Chimaira/Killswitch Engage type attack. “Hypocrite”, the middle track of the disc, has such mood swings and changes all I kept thinking was, “this is what Neurosis would sound like if they wrote 3 minute songs”. From singing to slamming to brutal drumming, this track thrashes you in its jaws and leaves you for dead. “Counting Tears” lulls you into a false sense of security shortly before kicking you in the nuts with a death metal-esque barrage. After a quick decline, the track slowly rebuilds, teasing you with stability and then repeatedly poking you in the eye. My wife made the comment that MMM sounds like a “radio friendly Meshuggah” … it’s an extreme comparison, but not entirely unfounded.

Mourn Makes Movement’s promo pack consists of blacks, whites and grays (as is the majority of their website), which is somehow befitting of the band and its message on life and death. In an industry where commercials, videos, managers and awards often speak for musicians, these guys are letting the music speak for itself.

It speak loudly it does. I can’t wait for a full length from these guys.

01. Failed Goal
02. Hypocrite
03. Counting Tears

A little Motorhead, a little punk, a little 80’s, and a whole lot of rock and roll. That describes Greetings from the Bonneville Salt Flats from Motochrist, although they prefer the description “Ramones meets Black Sabbath.” Call it what you want, it’s poppy, it’s dirty, and it’s sure as hell catchy.

By “Someday”, the second track on the disc, I guarantee you will be tapping your foot and singing along. Motochrist is a little bit L.A. and a whole lot Hollywood. Yeah, it’s been done before — so what? Don’t wade into this album expecting the guys to create a new genre — or even make a significant dent in the one they’re in. Anyone who has ever bought a Hanoi Rocks album (especially if you bought it on cassette) or anything from Junkyard will feel right at home here.

Instead of whining about how they were abused as children and whatever else every nu-metal is crying about these days, Motochrist keeps it simple. “All I want’s my girl and a real fast car,” goes the chorus of “Real Fast Car.” In fact, most of the tracks on Greetings from the Bonneville Salt Flats revolve around cars, chicks, or beer. My kind of band. Lots of leather, lots of rock, and lots of guitar solos.

Throughout much of the album, Motochrist comes off a little more like Poison than Skid Row — a little more Theater of Pain than Shout at the Devil. Still, the disc is enjoyable from beginning to end. Greetings from the Bonneville Salt Flats is a genuinely fun rock and roll record that you can actually sing (or drive fast) to.

Tracks
01. Hang ‘Em High
02. Someday
03. Holiday
04. Real Fast Car
05. El Diablo
06. Nuthin’ Right
07. 6 Shooters
08. Strings And 6 Packs
09. Something To Do
10. Out Of Control
11. I Lost It
12. Super Sonic Speed Machine
13. Three Sheets To The Wind

It’s hard to believe it’s been two decades since Motley Crue released Dr. Feelgood (1989). For the band’s four original members, the past twenty years have been just as volitile as their hard hitting music. While the band was on top of the world, vocalist Vince Neil quit and was replaced by John Corabi. Corabi’s departure/Neil’s re-arrival a few years later was marked by drummer Tommy Lee’s departure. Lee was replaced first by ex-Ozzy Osbourne drummer Randy Castillo, and later ex-Hole drummer Samantha Maloney, who had an affair with Nikki Sixx. After multiple rounds of name calling and everybody-suing-everybody (including each other), Motley Crue dissolved and the band members went their own ways. Vince Neil continued his solo career, Nikki Sixx founded bands 58, Brides of Destruction and Sixx: AM, Tommy Lee founded Methods of Mayhem, married Pamela Anderson and appeared in his own reality television program, and guitarist Mick Mars disappeared from the public eye.

When I heard that Motley Crue was set to release a new album, their first with the band’s original lineup in over a decade, I was both excited and nervous. Would we get a nu-metal version of the Crue along the lines of Shout at the Devil ’97? Would the group be able to put their differences behind them and actually kick out some rock?

Yes. Yes, yes, yes!

Saints of Los Angeles, Motley Crue’s ninth studio album, finds the wild foursome back in top form. Loosely based on the band’s 2001 autobiography “The Dirt”, SoLA includes twelve songs based on topics any old school Crueheads should find familiar: sex, drugs, and rock and roll.

Nikki Sixx (historically the band’s primary songwriter) shares writing credits on SoLA with every member of his other band, Sixx: A.M. All thirteen tracks were written by Nikki Sixx, DJ Ashaba (guitarist, Sixx: A.M.), Marti Frederiksen (producer, Sixx: A.M.) and James Michael (vocals, Sixx: A.M.). Mick Mars contributed to seven of the album’s tracks, and Tommy Lee contributed to one. Any fears that SoLA sounds like anything but a Motley Crue album went right out the window with the first Mick Mars’ signature guitar sound.

The songs on SoLA all sound like Classic Crue (a’la Girls, Girls, Girls) but cleaner, tighter and thicker. In fact, it’s hard to remember a time when the band sounded better. Through a pair of headphones the layers of guitars sound amazing. Sixx and Lee deliver the same solid back end they’ve been hammering out for years, and Vince Neil sounds better than he has in ages — whether that’s due to the song writing team or simply studio production, who’s to say.

The album’s first two singles (“Saints of Los Angeles” and “Mutherfucker of the Year”) sum up the band’s current sound, style, and attitude. Those who have read The Dirt (or have ever listened to Motley Crue) won’t be surprised at the album’s lyrical content. One of the band’s favorite topics (girls) gets plenty of attention on “Chicks = Trouble”, “The Animal in Me” and “This Ain’t a Love Song”. There’s plenty of old memories wrapped up in “Down at the Whiskey” and “White Trash Circus”, and in true Motley fashion, the album ends with the band literally “Goin’ Out Swinging”. Despite the fact that half of Motley Crue is over 50, I get the feeling they could probably still kick your ass, or go down trying.

Saints of Los Angeles is Motley Crue’s best work since Dr. Feelgood and definitely holds its own alongside the band’s classic 80s albums. Motley Crue is back, big time.

01. L.A.M.F
02. Face Down In The Dirt
03. Whats It Gonna Take
04. Down At The Whiskey
05. Saints of Los Angeles
06. Mutherfucker Of The Year
07. The Animal In Me
08. Welcome To The Machine
09. Just Another Psycho
10. Chicks = Trouble
11. This Aint A Love Song
12. White Trash Circus
13. Goin Out Swingin’

On the Web: Motley.com

After twenty-five years of cranking out electronic, industrial, and full on metal, Ministry’s Al Jourgensen is ready to hang up his hat. The Last Sucker, Ministry’s final opus, also concludes the band’s anti-George Bush trilogy.

Ministry’s sound has changed greatly throughout the years, and their last three albums have been three of their heaviest. Ministry’s 2004 album Houses of the Mole’ launched an all out attack against George W. Bush and his administration. 2006’s Rio Grande Blood continued the band’s direction both sonically and verbally, continuing the band’s attack on the US government, military, oil, and Haliburton. The Last Supper once again continues the battle, spewing one final collective venemous assault toward President Bush.

Those who own the band’s previous two albums won’t find much new lyrical ground covered here. Jourgensen makes his opinion of the war in Iraq, the government, and the military in general very clear throughout most of the album. Both Dick Cheney and George Bush have songs dedicated to them (“The Dick Song” and “The Last Sucker,” respectively). For the first time in Ministry’s anti-war trilogy, the band has included a cover tune. The Doors’ Roadhouse Blues seems out of place until you hear the first verse (“Ill tell you this man, all I wanna do is have my kicks before this whole shit house goes up in flames.”) The culmination of the band’s trilogy ends with two tracks, End of Days Part One and Two. “It is the end of days/We’ve clearly lost our way,” laments Jourgensen in Part One. In Part Two, he continues: “I disregard those who govern me/I hate all of this treachery/I numb my mind and try to walk away/Toward the trail of tears and to the end of days.”

Sonically the band has continued its direction as well. Both Tommy Victor and Paul Raven of Prong have returned to unleash a fury of metal over Jourgensen’s industrially-programmed drum tracks. Also joining the festivities this time are Sin Quirin (Revolting Cocks) on guitar, John Bechdel (Fear Factory/Prong/Killing Joke) on keyboards, and Jimmy DeGrasso (Suicidal Tendencies/Alice Cooper/Megadeth) on drums. Burton C. Bell (Fear Factory) also makes a guest appearance on three tracks. Ministry’s last two albums have been two of the heaviest of their career, and The Last Sucker continues their combination of metal riffs with aggressive drumming.

The Last Sucker is consistant with the band’s previous two albums; unfortunately, that also means there’s not much new here. Ministry’s swan song will most likely be remembered as a good album, but not the band’s definitive work.