For most people, Asian death metal doesn’t exist, so thank your third nipple Rudra’s new album has arrived to rectify this grave misconception. Their latest effort, “Brahmavidya: Transcendental I,” is an hour-long romp that’s the sequel to 2005’s equally obscure “Brahmavidya: Primordial I.” Rudra aren’t well known, but with so many underground bands vying for anyone’s attention these days, this Singaporean quartet belongs to the select few who really deserve a broader audience.

Ke!ep in mind that Rudra DON’T play your average death metal; theirs is a peculiar death/black metal hybrid wrapped around a broad theme, the Vedas, ancient Hindu texts dealing with matters spiritual and temporal. The Rudra guys have embraced one aspect of this immense canon called non-dualism, a philosophy they’ve elaborated on and explained across six (!) albums dating back to the mid 90’s.

The curtains open for the intro “Bhagavadpada Namaspara” where a gaggle of priestly chants accompanied by ethnic instrumentation establishes the band’s exotic appeal. Its spiritual overtones are scripture lifted from the Sanskrit Vedas and once it’s done trying to levitate the listener to a higher plain, the buzzing guitars and abrasive rhythm of “Ravens of Paradise” floods in. The first song proves a long, winding journey across cultures and languages swirling in what is perhaps the best extreme metal to come from Asia.

As “Transcendental I” progresses the heavier tracks come snapping at the heels of each other, only taking a break for the odd interlude or three—“Meditations At Dawn,” Immortality Roars,” Adiguru Namastubhyam.” “Ravens of Paradise” is followed by the confusing “Amrtasyaputra,” then the deceptive “Hymns From The Blazing Chariot,” “Advaitamrta,” “Natural Born Ignorance,” “Reversing the Currents,” “Venerable Opposites” form a withering sequence of intense musicianship and extreme progressive complexity until the blastbeat driven deluge “Majestic Ashtavakra” finishes the album. When “Transcendental I” falls silent, Rudra’s prove beyond any doubt how brutal, hypnotic, mind-expanding, and face melting they are.

In all honesty, “Brahmavidya: Transcendental I” is a difficult album to review. There’s enough musicality on it, from cataclysmic guitar solos to raw vocals, for a dozen lesser albums from cookie cutter bands churning out death metal these days. They don’t compare to Rudra, and never will—this fearsome foursome from Singapore have won the death metal pageant for 2009, new albums from Pestilence, Cannibal Corpse, and Suffocation be damned. This music is immense. Epic. Masterful. Transcendental.

Rudra’s mighty Myspace: www.myspace.com/vedicmetal

Charm City Devils; five guys, John – Vocals, Jason – Drums, Anthony – Bass, and Nick and Vic on Guitar. Hailing from the East Coast‘s Baltimore MD, this consortium, hand-picked by Nikki Sixx to represent him by initiating his new record label “Eleven Seven Music”, have finally kick-started their professional music career with their scorcher of a debut, “LETS ROCK – N – ROLL”.

Kicking off with quite possibly the most appropriately titled song imaginable, “Lets Rock-N-Roll”, both the albums name, and the titling of the commencing song, sets forth the oath of Rock N Roll, that is elegantly fulfilled throughout. Gruff, distorted vocals echoing the Rock N Roll chant, melodically driven guitars and pounding drums, this song really offers that buzz of invigoration needed to entice any listener to further their exploration into the rest of the album. Brilliant song!

“House Fire“; a speedier, more energized follow on, to “Lets Rock-N-Roll”. Despite the norm, it is the verses which do it for me. Although the chorus has its moments, it becomes repetitive and begins to fade in excitement.
However, the vibe is recaptured with the next track, “10,000 Miles“., as more AC/DC tainted persona shines through the lyrics and tune, are these guys the real deal, or just paying homage to their heroes?

“Best Of The Worst” – the track that seized my attention from my very first encounter with the bands music. A MUST listen if you’ve never checked these guys out before! One of the only two slower songs on this album, although setting off at a somewhat casual pace, the music soon picks up displaying perfect guitars, perfect drumming, perfect vocals, perfect lyrics, leading it on to be what I consider, the crux of the crown.

After such a hype over the previous track – it may seem that no other song on the album could do it justice. As this may be so – HOWEVER, following fast in its footsteps is a “True Love (Hell Yeah)”. A vigorous, dynamic, emphatic, statement of a song, (or more of a chant). The pounding drumming in this really centres the song as a musical declaration, rather than a musical collaboration.

“Money”, another with high-powered guitar, banshee vocaled, high-octane driven track, yet it lacks that certain spark given off by some of the other tracks on the album. After listening to it on repeat several times, it begins to fade in excitement.

Nose-pinched, whiny vocals is released in “One Day”, but this song has drive. A full on party anthem, you cant help but join in during the chorus; shows their skill of turning classic rock riffs, into relevant new music.

“Almost Home”, the more emotional of the only two *ballads* on the album. One of the most promising intro’s on the album, as its opened with the playing of a small orchestra, reviving the musical element, and adding a fresh sound to the album. The autobiographical lyrics, add a further boost of personality to the poignancy embodied by the song and Allen’s voice itself is deserving of praise, both powerful yet emotive, the frontmans true potential is proven here . One of the album toppers with a vague 80‘s hair metal feel- definitely worth checking out!

“Night Is Dark”, a rather pessimistic track, with equally pessimistic lyrics. Not the deepest lyrics may I add, “Mama can you hear that baby crying, Mama can you hear that Grandma dying?” Lacks any real thought, and seemingly used as a lyric filler rather than a meaningful set of musical script. However, the song in itself is in fact much better than the empty lyrics. A heavier feel than AC/DC, this is where the band branch out to a seemingly more Mod. Motley Crue inspiration.

The closing track “Burn Baby Burn”, features yet more of that trademark distorted, as if singing down a telephone, vocal. A good thing? Yes and no – it lacks character, and the raw feeling that you’ve got all the singer has to offer. However, it works pretty well for this song, and the album in general. This song literally wears you right out, draining the energy out of you by the time its over. A somewhat captivating sound, give it a go!

Overall:- A medley of AC/DC, Blackstone Cherry and Motley Crue, these guys have a LOT of unventured potential. Far more than what they’re letting off in this album. However, i plan to follow them throughout their future career, which will undoubtedly be fruitful, and despite some of the criticism it has recieved, this is still a pounding debut full of rip-roaring debauchery and more than worthy of a listen. Well done lads, you done Nikki proud!

7.5 / 10

The 69 Eyes are due to release their 9th studio album Back In Blood on September 15th, via The End Records. The first single is the tongue-in-cheek ‘Dead Girls Are Easy’ – a nasty power anthem for sleazy pin-ups complete with a sing-a-long chorus aimed at those online chicks with the looks that kill! The video will be directed by MTV superstar and close friend Bam Margera, who was also responsible for the Eyes’ rock homage to ‘80s cult movie ‘The Lost Boys’. A downloadable MP3 can be found from the link below.

Dead Girls Are Easy MP3 Download: HERE

http://www.69eyes.com
http://www.myspace.com/theofficial69eyes

This day started as a normal day, I woke up, ran down to make some breakfast for work, brush my teeth and head to work. When I entered the big hall I am working in I got a surprise from one of my co-workers, Michael Jackson is dead. And I was like “WTF!”, so I had to ask him: “What did you just say?” and the answer came at me, Michael Jackson is dead, its true, read the papers and I did, ones again: “WTF!”

MJ is one hell of an entertainer and a skillful person with loads of awesome moves (robot dancing, moonwalks, kicks, crotch grabbing e.t.c) and reading the news, that he is gone is very weird and fucked up. How can this be true?

We had the radio on for the whole day and listened to P3s tribute to one of my childhood heroes and we tried to do some MJ moves but we couldn’t. It was some happiness, mainly for the Jackson songs that was played, all the hits: Thriller, Bad, Billie Jean, Smooth Criminal and some older songs like Blame it on the boogie and other Jackson 5 songs.

Everyone should listen to his music today, like a tribute, I have and I will listen to some more.
And one last thing: Hey Michael, if you are bored in Heaven look for a guy called Dave Lepard, he will cheer you up. Maybe you can write some songs together or something. We will miss you, and we will not forget you!

THE 69 EYES return with their ninth studio album, which has been hailed a latter-day ‘Appetite For Destruction’. With blood on their hands and AC/DC on their stereo, the bloodsuckers have combined their past to focus on the future. Turning their back on the comic book glam of ‘Angels’, The Eyes have opened a heavier chapter in their musical career. For the first time this decade, honorary sixth vampire Johnny Lee Michaels has been granted temporary leave from the batcave and Matt Hyde (Slayer/Monster Magnet) has been invited over the threshold to produce the record.

“He’s cleaned the table and dusted the skeletons!” singer Jyrki 69 laughs. “It’s like when Rick Rubin helped The Cult discover them on ‘Electric’ – we made a similar spiritual journey with Matt.”

Once again THE 69 EYES have their finger on the pulse of darkness with 12 goth ‘n’ roll anthems guaranteed to rock the crypt. “Unsurprisingly, the main inspiration for the album came from the vampire realm,” Jyrki explains. “We haven’t made a concept album but nearly all the songs have something to do with the undead or at least horror as a genre.” Delving into his movie collection, the singer focused on Jean Rollin’s erotic French flick ‘Lips Of Blood’, ‘The Hunger’ and the modern-day opus ‘Night Watch’. “It’s almost like vampires are taking over the world!” he muses referring to the current ‘Twilight’ mania.

Read The Full Story…