MESSIAH PROPHET "Master Of The Metal"

(c) 1986 Pure Metal Records

1. Hit And Run
2. Master Of The Metal
3. For Whom Does The Bell Toll (Ps. 23)
4. Fear No Evil
5. Heavy Metal Thunder
6. The Friend
7. Battle Cry
8. Voice That's Calling

Charlie Clark--Lead and Backing Vocals

Andy Strauss--Lead Guitars, Acoustic Guitars, Backing Vocals

Brian Nicarry--Guitars, Lead Vocals (3, 7), Backing Vocals

Joe Shirk--Bass, Backing Vocals

David Thunder--Drums

Additional Musicians

Bill Grabowski--Guitars

Alexander Paul--Guitars

While it had existed as a genre for over a decade, Christian hard rock and metal was going to explode in 1986, due in large part to the massive exposure the genre received from Stryper's massive To Hell With The Devil record.  Suddenly, new bands were popping up, old bands were finally getting recognition and exposure, and new labels were forming to get these bands out to the masses.  Pure Metal Records was one such label, and Messiah Prophet was the first band signed to the label.  Perhaps no band better fit the imagery of a label than Messiah Prophet and their second record (first for Pure Metal), Master Of The Metal.

Previously called Messiah Prophet Band, the five piece act changed three members from their previous album, the solid, but decidedly more hard rock Rock The Flock, dropped the "Band" from their name, turned up the guitars, and created a true Christian (or White) metal masterpiece.  Often wrongly called "Heavy Metal Thunder", most likely due to the popularity of that particular track, Master Of The Metal was a beast of an 80's metal album, complete with dual guitars, a thunderous rhythm section, and a vocalist in Clark who could raise and lower his register seemingly at will.  Interestingly, newcomer Nicarry provides lead vocals on the two ballads of the album, but Clark's wail can be easily recognized in the chorus sections, especially on the massive power ballad, "Battle Cry".

The record starts off in fine fashion with "Hit And Run", a mid-tempo hard rocker that kicks off with rapid fire snare drums and chugging rhythm guitar riffs before an overlay of police sirens enters the mix, adding a sense of urgency...and perhaps a bit of 80's metal cheese...to the track, which finds Clark warning listeners "Don't be a hit and run", referring to finding oneself a victim of Satan without having the protection of Christ's love.  The guitar work here is top notch, and the bass of Shirk is definitely stand-out, as are Thunder's drums.  A great way to kick off an album.

The title track is up next, and again, the mid-tempo track is a near perfect track, with aggressive rhythm guitars, a heavy drum presence, big, gang-shouted chorus sections, and a bass presence that was often overlooked in heavy music of the time.  There is a cool time change following the second verse and chorus section that finds Thunder kicking his way through some interesting drum patterns, before giving way to a flashy lead from Strauss, who also wrote the song.  

Nicarry takes his first lead vocal spot on the next track, "For Whom Does The Bell Toll (Ps. 23)".  Introduced by a haunting church bell, "For Whom..." should not be confused with the Metallica track of the same title, as this song is a ballad interpretation of the 23rd Psalm, featuring strong acoustic guitar work and a big, layered chorus vocal, led by Clark, that pronounces "Yea, though I walk/Through the Valley of Death/I will fear no evil".  There are some scriptural modifications to the verses to make them better fit the song structure, but it is clear the intent of the song is to put the well-known inspirational verse to a musical soundtrack the rock/metal kids of the time could relate to.  The chorus, interestingly (intentionally??) leads perfectly into the next track, "Fear No Evil", which finds Clark's high-end power vocals returning to the lead position as the tempo picks back up and the wailing guitars return.  While "For Whom Does The Bell Toll" is an excellent piece of music, it is on "Fear No Evil", with it's shout-along chorus and screaming guitars, that Messiah Prophet really excels.  And nowhere is that more evident than on the featured track of the record, the "hit" of the record, "Heavy Metal Thunder".

Featured prominently at the center of the CD (or at the beginning of the B side of the vinyl), "Heavy Metal Thunder" is five and a half minutes of 80s classic metal bliss.  A big power chord intros the track before Nicarry's rhythm guitars and Thunder's drums join the fray just ahead of Clark's vocals, which take on a nearly-spoken work approach for the first half of each voice, before he cranks up the power, adds a bit of edge, and then elevates the range as he enters the big, layered chorus of "Heavy metal thunder/Heavy metal noise!"  A bridge of "Who are you going to choose?" repeats itself a couple of times before Strauss goes crazy on a screaming guitar solo that put much of the Christian metal scene on notice that this band was for real.  There is also a repeat of the vocal bridge, this time atop just a big...ahem...thundering drum section from Mr. Thunder, himself...before Clark takes a couple of spins through the chorus, and big, twin guitars lead the charge home.  At this point, the greatness of the record and the band is pretty much firmly established and the rest of the record is pure sonic bliss.  

"The Friend" follows up, again featuring a catchy, chant along chorus and gritty rhythm guitars that keep the mid-tempo metallic train chugging steadily forward as Thunder's drums and Shirk's bass keep hammering away in lock step.  Nicarry returns to the lead vocal slot on "Battle Cry" which is an excellent quasi-power ballad that is again supported by Clark's powerhouse vocals on the chorus section, before the record closes with one of my two favorite tracks on the album, the epic metallic rocker, "Voice That's Calling" that is every bit as musically perfect as "Heavy Metal Thunder", even if its likely not as accessible to casual metal fans.  Strauss is absolutely spot-on with his solo work throughout this seven minute monster.  For me, the brilliance of the track is the closing vocal stretch that finds Clark emphatically wailing, "Jesus, Jesus, I will have no gods before you" repeatedly as Nicarry riffs away and Strauss tears into another closing solo run as Thunder complements the song with some great tom fills.  Just a powerhouse of an ending to an equally powerful track.

The cover artwork is nearly as noteworthy as the music, and it is a great part of the overall package here.  The CD insert (and the cassette insert, as well) features full lyrics, writing and performance credits, acknowledgements, and booking information.  There are no band photos or member thank yous included.

This is a masterpiece of an album in the Christian metal genre, and a great piece of straight forward 80s metal overall.  Edging a bit towards more commercial, more melodic metal at times, the album struggles only with the limitations of he production at the time.  This is an album that SCREAMS for a true remastering, because if the muddiness could be even semi-cleaned up in a couple of areas, fans of the Christian metal sub-genre, and of 80s metal in general, would clamor for the project.  As it stands, this album has been reissued one time in the early 2000s, but it was not remastered.  In a perfect world, I would love to see an anthology collection of this album, the 1984 independent album, Rock The Flock, and the last song Clark recorded as Messiah Prophet (albeit with a totally different band), "Blinded".  

This would be the final true Messiah Prophet album (again, Clark recorded one more song, but with a different band), and the next album to feature the Messiah Prophet name, 1996's Colors, is a completely different animal than this iteration.  Decidedly more commercial hard rock in it's approach, Colors, while not horrible, pales in comparison to Master Of The Metal, and not one member of the band from either Rock The Flock or Master Of The Metal performs on it.  I believe this is an example of the label owning rights to the name and the publishing, so when Clark and Strauss' version of the band ceased to exist, the label (then Refuge Records, who bought out Pure Metal) simply put together a new version of the band in an effort to sell records (that plan failed, by the way.  Colors is pretty much considered garbage by most Christian metal collectors, although I think this is a bit harsh.)

Sadly, Clark lost his battle with Lou Gerhig's Disease (ALS) in very early 2018 at the too young age of 55.

Long out of print, in either the Pure Metal or the limited edition reissue, this CD is still highly sought after and regularly fetches $25-50 prices on eBay.  I have seen copies on Amazon listed for $29.99, but I have a hard time believing these are not bootlegs, as they are listed as "new", which I find hard to believe.  

If you can find one for a decent price, you should snag it, because Messiah Prophet's Master Of The Metal is one of the truly great pieces of Christian metal in the important 80s metal scene.  

Rating:  8.5/10

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LOVEWAR "Lovewar"

(c) 2019 Roxx Records

1. Who I Am
2. Stand Under It
3. Upside Your Face
4. Candle
5. Grain Of Salt
6. Tuxedo Alligator
7. One-Trick Pony
8. House Of Cards
9. Mercy
10. Up For A Fight
11. You

Tim Bushong--Lead Vocals, Guitars

Greg Purlee--Drums, Percussion, Backing Vocals

Rick Armstrong--Bass, Backing Vocals

No need to check your calendar, as, yes, it is still 2019.  And, yes, you did read the title to this review correctly.  Lovewar has reformed to release a new album more than 25 years after their one true album, 1993's Soak Your Brain.  To some this has become an annoying trend, but for me, the resurgence of old bands who are releasing new material years...sometimes decades...after their last record is an amazing thing!  It not only gives me new music to feast my ears upon, but it also drives me to revisit some of those bands and albums of my youth that have been collecting dust on a shelf.

Things kick off with Purlee's drums before a chunky, down-tuned guitar riff roars from Bushong's guitar on this mid-tempo rocker, only to back off into a quieter, funkier riff during the verse sections.  Here, we get our first listen to Bushong's vocals in more than 25 years...and it was worth the wait!  As a 23 year old, "faster and louder is better" metalhead, I couldn't fully appreciate Bushong's approach, but now, I get what he is doing and definitely like his style and approach.  The edgy guitar crunch returns on the chorus sections which feature some excellent layered harmony vocals from Purlee and Armstrong, whose bass is not only heard but felt throughout this track, mixed perfectly so as to be given a voice without becoming overbearing.  We also get to hear the first solo run from Bushong on guitar, and it is apparent the amount of talent this band has when it is all put together into one musical pot.  Good stuff to open with. 

The tempo picks up...and the music lightens up a bit...on the next track, "Stand Under It".  I'd definitely say this is one of the two or three best songs on an album with no real filler material.  Again, those vocal harmonies are a joy to hear, and the tight rhythm section of Armstrong and Purlee really gives Bushong a solid footing on which he can not only run vocally, but also with a guitar solo that has that 60s Hendrix tone to it.

"Upside Your Face" is another hard rocker with a funky attitude, and it is here that the first comparison to 80s/early 90s King's X is likely to be drawn, although there are nods to Extreme here, as well, though there is nothing even remotely close to a rip-off on this record.  Armstrong is given a chance to really let his bass work here and he does not pass up on the opportunity, nor does Bushong on his solo section.  Purlee, likewise, makes his presence known, with plenty of tasty fill work, especially during the guitar solo, where the cymbals spring forth almost like they are part of that solo.  Another song that falls into that top three or four songs category for me.  

The album's lead single is the funky rocker, "Candle", which features a quirky, jangly guitar riff running the course of the track, along with interspersed harder-edged guitar riffs, giving the song a unique sound that is definitely not something that is part of the current musical landscape.  (And we are all being robbed of so much great music because of this...)  Bushong's vocals are a bit deeper than they were a couple of decades ago, a bit more weathered, but he still sounds strong, like a cross between Gary Cherone and Dug Pinnick.  Armstrong's bass is given plenty of room to rumble on this track, and Purlee's drum patterns are every bit the match for the varying guitar approaches utilized here.  Check the video below to get a feel for what you are going to experience here.

There is a definite musical continuity running between this album and Soak Your Brain, which is largely the result of the fact that these songs were reportedly written as the follow-up album way back when.  That being said, I think the lyrics have been updated to fit a more current time.  As an example, the song "Grain Of Salt"features these great lyrics...

                 "So much tolerance/Can't seem to tolerate...

                   So much violence/Makes me wanna hate.

                   Too many genders/Clutter up the view...

                   Too many lawsuits/Make me wanna sue!"

While nothing here likely jumps out at the casual listener as being out of time, when you consider these songs were written 20+ years ago, the "more than two genders" thing wasn't an issue in the 1990s or even early 2000s.  Regardless, when you hear the band's layered harmony vocals on this, and several other tracks, as well as their musicianship, it becomes very easy to understand why the trio is frequently compared to King's X.  And while that is understandable, it is also unfortunate, for King's X clones, Lovewar is not.  Personally, I far prefer Bushong's vocals, and I think Armstrong's bass, which is featured prominently throughout this record, is a bigger overall instrument than it is on several King's X records.  But again, this isn't about comparing bands and saying "this band is better than that band".  No, this is about a group of guys that came together, seemingly out of nowhere, to reform a band and say, "yeah, let's do this one more time".

"Tuxedo Alligator" is a picture of a wry smile painted with musical brushes, with liberal doses of blues, funk, and rock all smattered across the canvas.  The riffs are chunky and gritty in places, daring Bushong to unleash his guitar, but the funky bass line and generally laid back, lounge-esque drum patterns reign things in, creating a musical tension that is pure ear candy.

"One-Trick Pony" starts off with an acoustic guitar section that eventually morphs into a Zeppelin-styled riff that is soon swept over by the band's layered, Extreme-styled chorus, which actually precedes the first verse.  This song is dang-near hypnotic, and I found myself returning to it over and over, drawn in not only by the instrumentation, but also Bushong's angrier approach to his vocals, particularly on the bridge section where he screams...

                "The world is dying, and we are crying, and shaking and bawling and roaring and barking                       to the dogs!" 

...or something close to that; there are no lyrics included with my preview copy, and his angry snarl is a bit hard to make out in this section.  The longest song on the album, there's a lot to take in here, and all of it is good.  Probably my favorite track on this album.

"House Of Cards" takes on a groove-heavy Enuff  Z'Nuff quality musically, with tight harmony vocals and an infectious melody that sets it apart from some of the other tracks here.  The guitar solo is exceptional, with Bushong using two different styled effects on specific parts of the solo break, alternating between a smoother, 60s-rock sound and a slightly edgier, grittier sound.

"Up For a Fight" starts off with heavy, dark tones, before moving into more friendly-sounding territory.  Again, highly catchy, especially on the main guitar riff that carves its way through the track, and the layering of the vocals add a depth that is just absolute perfection to these ears.  This anti-politics song...at least the current state of politics...is really, really well done, and would have been the perfect close to a really solid return.  But Lovewar isn't quite done yet.

"You" is another Zeppelin-meets-King's X track, especially in the guitar riffs that open the track, while the Extreme qualities of the song jump out at you in the pitch-perfect harmony vocals, the added percussion instrumentation, and the thick vibe that runs throughout.  All three men are equal parts of the whole here, and if "One Trick Pony" isn't the best of the batch, "You" probably is.  "You" has an extended instrumental section to exit the song, but does so without feeling like it breaks down into a jam band session, and when the final guitar note rings out, you find yourself waiting for the next track to kick in because you simple don't want the record to be done!

The production is very good here, which is essential when you are dealing with a band that has as much musical talent, quality, and depth as a band like Lovewar.  Top notch songwriting, excellent musical performances, and gorgeous vocal work...from lead vocals to those exquisite harmony vocals...all lead to an amazing return for Lovewar.

Now...if we can only convince them to not wait 25 or so years before the next album comes out...

Rating:  8/10

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SEVENTH DAY SLUMBER "Closer To Chaos"

(c) 2019 RockFest Records

1. Alive Again
2. Cold Kiss Embrace
3. Burning An Empire
4. Drama
5. Light It Up
6. Man Down
7. The Letter
8. Still Breathing
9. Sober
10. Your Eyes

Joseph Rojas--Lead Vocals, Guitars

Jeremy Holderfield--Lead Guitars

Ken Reed--Bass

Blaise Rojas--Drums

I've been on board with Seventh Day Slumber for several years now, going back to when I first heard the band in a live setting (I was there to see another band, truth be told) as they were on tour to support their then-new release, We Are The Broken.  Since that time, I have managed to track down just about every single release the band has put out, and I have found varying degrees of enjoyment with each release.  From the post-grunge beginnings found on Picking Up The Pieces to the modern radio rock success of the previously mentioned We Are The Broken, the Redline EP, and the band's last studio effort, Found, the band has managed to continue to grow bit by bit, subtly altering and updating their sound, while never losing track of who they are...and definitely never compromising on their message.  And, while the band has had numerous Billboard #1 and Top Ten hits, two number one albums, and more than 500,000 albums sold, I always felt the band was still searching for that album that was going to truly define who Seventh Day Slumber is and what the 7DS sound really is.

With Closer To Chaos, I believe they have found that album!

The songwriting on this record is simply a step, maybe even a step and a half, ahead of anything the band has put forward up to this point.  And, with the list of accomplishments I rattled off for you above, that really says something!  But there is a cohesiveness to the writing here, as well as a maturity, that wasn't always present before.  Where every previous album had about three...maybe four...great songs and one or two filler tracks, surrounded by nice but not necessarily noteworthy tracks, Closer To Chaos tightens things up significantly!  Nowhere to be found are the filler tracks, and nothing here is forgettable at all.  With writing contributions from both Joseph and Blaise Rojas, as well as Josiah Prince (Disciple) on three songs, the band carves a melodic-yet-modern path through the rock landscape with each and every track here.

Just because the album is full of great songs, that doesn't mean there aren't a handful that really grab my attention.  Take, for example, the album's first track lead single, "Alive Again".  After a brief build, the rhythm guitars and punchy drums jump straight to the front of this mid-tempo hard rocker about wanting to be able to be the real you and to put your best foot forward, not having to put on a fake smile and just make it through the day.  Holderfield's guitars carry an aggressive edge with a stop-start-stop-start chugging approach that is executed perfectly here as it drives the track forward.  It's also nice to hear Ken Reed's bass so even in the mix, as the bass seems to either get buried, or totally BLASTED in the mix on a lot of rock records now, but here, we get the perfect blend of present but not predominant from the bass.  Joseph's vocals are powerful here, particularly on the bridge section, and I am constantly in awe of how easily he slides across certain sections of this track (and many others), coming across like he is having a conversation with you with his delivery style.  I love it!

"Burning An Empire" is an extremely powerful song and a commentary on how our society devalues itself.  The second verse, especially, really punches the listener in the gut as Joseph eloquently lays out the abortion debate from the viewpoint of the pro-choice crowd...

"We are the ones who decide/Who lives and who dies/We let the unborn pay the price...
Its all just murder for hire/So you can fill your desires/As we go on with our own lives.
What will it take to see the mess you've made?
We're Burning an Empire...."

The whispered vocal bridge is every bit as powerful here, as well...

"There's evil in your eyes/Your blood-stained hands don't lie.
You're rotting deep inside/Rotting deep inside..."

Its a truly haunting statement about what society values and what it discards, and it is a song that I can never get through without hitting repeat at least once.  Musically, its equally great, and while SiriusXM will ignore it, this track could (and should) share the airwaves without anyone batting an eye until they got to the lyrics.  An awesome, awesome song!

Speaking of songs that get repeated, the powerful "Man Down" ranks as one of the very best tracks this band has ever put onto a record.  Starting (and ending) with the sounds of war, the song soon leads the listener to the realization that the sounds are the soundtrack to a nightmare being had by a soldier with PTSD.  A truly powerful message about the men and women who continue to live and relive the hellish experiences of war, even when they return home, "Man Down" should be picked up by any number of military and police organizations that work with survivors.  Co-written by Blaise Rojas, "Man Down" is quite likely my favorite track on an album filled with excellence.  The guitar tones are as haunting as the subject matter, and the chorus rings in my head for hours after hearing the song...literally.  It gets stuck and I can't get it out...

"Man down/We've got a Man Down!
Crying for help/But I can't make a sound,
Trapped inside/My own mind!
Losing control/Of all my emotions
Is there a cure/For the wounds that I've opened?
I'm bleeding out/We've got a Man Down!"

Big drums, a powerful bass presence, and those haunting guitars all combine to make an incredibly powerful song that, again, should be all over the airwaves!  Request it, hashtag it to Octane or your favorite terrestrial station, do whatever you can to get this important song out there!

The follow-up track, "The Letter", delivers an equally powerful message about the issues of cutting, self-harm, and suicide, issues I work with on a regular basis in my real job.  The gut-level honesty that 7DS approaches these songs with is what makes them so powerful in my mind, as this track sounds like it was likely written as a compilation of hundreds of letters and conversations with hurting fans throughout the years.  There's some nice modern production elements dropped into the mix leading into a tasty little guitar solo, and again the drums and bass just punish the bottom end of this track.  Good, hard-hitting stuff, both musically and lyrically.

"Sober" is another cold slap of reality as it tackles the issue of addiction and the use of chemicals to mask pain and depression.  As a teacher who works with juvenile offenders, this song really hit me hard, as it is the soundtrack of so many of my students' lives when they are dealing with parents who are substance abusers.  But it was these lines, lines of hope, that really cause my eyes to sting...

"I wanna medicate/But I gotta sit through the pain.
To tell the truth/I almost picked the bottle up again.
I made a promise to my kids
Daddy's never going back, no matter how hard it gets!"

The chorus, however, is such a pleading look at pain and self-medication that it hurts to listen to.  Musically, the guitars take on an angry, crunchy tone, with some electronic elements buried way in the back just to lend support and fill in the rare instances when the drums and guitars take a quick breath!

The record's closer, "Your Eyes", is an excellent, hard-hitting rocker that closes out this excellent album in perfect fashion.  Crunchy guitars, rumbling bass, big drums, a supporting keyboard line, and some great backing vocals (big WHOA's!) on the chorus section all combine on this track about slef-worth and seeing oneself the way that Christ sees us.  For me, this is the perfect track to close the record...and then restart Closer To Chaos all over again!

This is an excellent record from start to finish, and I didn't even get to touch on all the great tracks like "Drama", with it's big hook and catchy chorus, or the gritty, chunky "Cold Kiss Embrace", a song about moving away from toxic relationships and toward being healthy and happy with oneself!  There simply isn't room to give each track here the written love it deserves!

Band founder, lead vocalist, and rhythm guitarist, Joseph Rojas is in especially fine vocal form here.  I don't think he has ever sounded better, to be honest.  Always smooth, always melodic, there is a depth and power here that was not always present on albums past, at least not all the way through.  But on Closer To Chaos, Rojas is one-hundred percent in full control of his range, his emotional depth, and his vocal presentation.  This sounds to me like an album where the band worked at finding exactly the right vocal take on every track to get the sound they were after, and it pays big dividends here.

It's also worth noting the growth in Blaise Rojas' playing.  He has definitely matured as a musician, with his drum patterns and fills becoming more and more interesting, bringing an energy and life to the songs now, whereas on previous efforts he was more in maintain the beat mode in places.  And while that has worked (to a degree) for any number of drummers in the rock industry throughout the years, it is always a treat to hear a drummer not just rely on the same-old-same-old and to grow and challenge themselves, and the listener, with new ideas, new tempos, new fills, etc.  With his sound married to the impressive work of long-time bassist Ken Reed, the rhythm section has a fullness on the bottom end that few bands in the modern arena have managed to capture on a record that has crossed my desk.

Produced by the band's longtime, and seriously underrated, guitarist, Jeremy Holderfield, with co-production nods given to Disciple's guitarist, Josiah Prince, the sound here is crisp, aggressive, and beautifully mixed, without the muddiness that seems to really make a mess of a lot of the modern rock that has come out recently.  There are touches of production elements thrown into the mix, but overall, Closer To Chaos is about the band, not the studio, and the conservative use of production gimmicks should be applauded here, as my experience has always been that Seventh Day Slumber doesn't need them.  Having experienced the band live multiple times now, I can tell you they put on a great show, and with  Closer To Chaos, they may have some hard decisions to make for this next tour's set list, as there are a lot of new songs that need to be heard in the live setting, to go along with "We Are The Broken", "Bring It On" and "Oceans From The Rain"!

If you catch them live, post their set list in the comments section; I'd LOVE to find out what they are playing now!

Rating:  8/10

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