Interview: Marco Mendoza | Returning to Tokyo with “Viva La Rock” shows in May

Marco Mendoza in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Former Whitesnake and Thin Lizzy bassist Marco Mendoza is rather busy with The Dead Daisies. But he still makes time for his exciting solo project, “Viva La Rock”, which he will bring to Japan in May.

Having been a wingman to David Coverdale, Scott Gorham, John Sykes and Ted Nugent, in his “Viva La Rock” solo project, bassist Marco Mendoza takes centre stage. When he recently was here in Tokyo for a performance with Nozomu Wakai’s Destinia, Roppongi Rocks had a cappuccino with him in Shinjuku to talk about his solo project which will tour Japan in May. We’re meeting a day after Marco’s “Metal Souls Live” performance with Nozomu Wakai’s Destinia, which also featured Ronnie Romero (Ritchie Blackmore’s Rainbow) and Tommy Aldridge (Whitesnake, Ozzy Osbourne, Thin Lizzy, Gary Moore, Ted Nugent). “We had a blast and I think the audience loved it, man! They really dug it. They sang all the songs!” It is obvious that Marco enjoys playing with the up-and-coming Japanese guitarist Nozomu Wakai. “He’s hungry and he’s very talented. I’m always into tapping into that energy. Being a little older myself…”

Marco Mendoza made a name for himself as a reliable bassist for Thin Lizzy, Whitesnake, Blue Murder and Ted Nugent. In recent years, The Dead Daisies has been his main gig, but he still has time for side projects. He has been performing in Japan with many bands and artists over the years. In May he will return as a solo artist and do two special club gigs in Tokyo.

Marco Mendoza in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

When Marco performs with “Viva La Rock”, he does it with a powerful trio. The importance to Marco of establishing chemistry between the musicians is very clear and this is true both on stage and in the studio. “There’s chemistry and magic that happens when we play together. This is a part of the business I am not too keen on, the digital thing. Where’s the human factor?” asks Marco Mendoza about the current practice of musicians recording their parts of a song in their home studios rather than get together to create music together. “I was talking to Soren Andersen, who produced. I said, ‘Bro! If I do my next album, I gotta get in the studio with the cats and play.’” Marco also rejects the idea of recording at home. “The attempt at having a studio at home… I did it a couple of times and it just doesn’t work. Because when I get home, I want to be with my wife and my kids. Be a dad, be a husband. To try and work, when my kids were younger, you can’t. When I do work at home, I wait until everybody crashes.”

“When I’m with the bigger projects, if I have a little bit of time, I always keep myself busy, which is where my solo project comes from and other things. I am working with Neal Schon. Neal Schon and Gregg Rolie and Deen Castronovo in the Journey Through Time project. I’m really busy with The Daisies. That’s my first priority and there’s some cool stuff happening there. Very, very cool stuff. Between The Daisies, Neal Schon and my solo project ‘Viva La Rock’, I’m pretty busy.”

Marco Mendoza and Roppongi Rocks’ Stefan Nilsson in Tokyo.

The Dead Daisies have been very active but the band is now on a short breather. “We’ve been touring constantly for the past four-five years. Four albums, one EP, a lot of tours with KISS, Aerosmith, Lynyrd Skynyrd, Bad Company, to name a few. A lot of arena tours, festivals. We just did some things with Guns N’ Roses because of our connection there with Richard and Dizzy and Frank.” (GNR members Richard Fortus, Dizzy Reed and Frank Ferrer were previously playing with The Daisies). “It’s a lot of stuff. Whitesnake! We supported Whitesnake. That was so fun, man! We decided: we’ve done a lot of work, we need to just take a few steps back, make a strategic plan that’s going to elevate the project. I think we’re pretty established now. We’re on the map, we’re on the radar. Our fanbase has grown and we’re getting invited everywhere and so we could very easily keep going. But the idea is to elevate it to the next level, wherever that level is.”

As busy as Marco remains with all his bands and projects, it is obvious he is enjoying doing his solo stuff as well. The solo album “Viva La Rock” was released in 2018 by Mighty Music internationally and Ward Records in Japan. (Read Roppongi Rocks’ album review here.) A follow-up solo album is already being planned. “I have to do my second album at the end of this year!” says Marco with a big smile on his face. Unlike in most of his other musical endeavours, with “Viva La Rock”, Marco takes centre stage. “I think, not to blow smoke up my own butt, but I think the sign of a true artist, a true musician – I don’t like the rock star thing, I consider myself a musician – is to constantly push the creative thing. To constantly test yourself and not be afraid of failure, because those are your best lessons,” says Marco as he sips on his cappuccino.

Marco Mendoza in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Marco Mendoza will perform with his trio at Club Edge in Roppongi on Friday 17th May and at Shinseikai in Nishiazabu on Saturday 18th May. For more information and tickets: Metal Justice Tokyo Viva La Rock

www.facebook.com/marcomendozaofficial

www.facebook.com/marcomendozajapan

www.marcomendoza.com

 

Album review: Entombed “Clandestine Live”

By Stefan Nilsson, Roppongi Rocks

Reunited Swedish death metal pioneers Entombed’s live version of its 1991 “Clandestine” album is nothing short of a brutal masterpiece. 

My expectations on the reformed/reunited Entombed’s new live release were sky high. After all, this is one of the best death metal bands of all time. Entombed were pioneers in the original Swedish death metal movement. Here they are performing one of their most classic albums in its entirety. I am very pleased that the band and this live album by far exceed those expectations. “Clandestine Live” is nothing short of a brutal masterpiece!

The band’s current line-up consists of Nicke Andersson (drums), Uffe Cederlund (guitar) and Alex Hellid (guitar) from the band’s original line-up that recorded the Tomas Skogsberg-produced “Clandestine” studio album in 1991. New members are Edvin Aftonfalk on bass and Robert Andersson on vocals, both formerly of Morbus Chron. “Clandestine Live” features all the nine songs from the studio album – “Living Dead”, “Sinners Bleed”, “Evilyn”, “Blessed Be”, “Stranger Aeons”, “Chaos Breed”, “Crawl”, “Severe Burns” and “Through the Colonnades” – plus “Left Hand Path”, the title song from the band’s 1990 debut album. It is brutal old-school death metal, yet beautifully melodic at times, in a haunted kind of way. While professionally recorded, this live album has captured the fantastically raw and brutal DIY sound that was an important ingredient in the death metal scene in the late 80s and early 90s. This live performance was recorded on 12th November 2016 in Sweden to mark the 25th anniversary of the studio album’s release. But it sounds as if it could have been recorded in 1991. That’s a good thing and probably what the band has tried to achieve here. The end result is splendid death metal awesomeness. Entombed rocks like it’s nobody’s business. Now the pressure is on for Entombed’s friends and rivals in Dismember to see what they can achieve when they reunite on stage later this year. The absolute highlights on this terrific live album include the exquisite songs “Chaos Breed”, “Crawl”, “Severe Burns”, “Stranger Aeons” and, of course, “Left Hand Path”.

Entombed’s “Clandestine Live” will be released on 17th May via Threeman Recordings.

Entombed. Photo: Anders Norrud

www.entombed.org

www.facebook.com/entombedclandestine

Album review: Suzi Quatro “No Control”

By Stefan Nilsson, Roppongi Rocks

Suzi Quatro is back with a new studio album filled with grown-up rock’n’roll with plenty of blues and some glam rock hints. 46 years after her album debut, she is still in control of her career. 

American artist Suzi Quatro had her heyday back in the 1970s. She relocated to England in 1971 and released her first album as a solo artist in 1973. With “No Control”, her brand new album, she proves that she’s still got it. This is straightforward rock with hints of glam rock and plenty of blues rock. She undoubtedly influenced The Runaways and Girlschool and many other artists back in the day. Her voice still sounds great and on this album, she has backed up her vocal and playing skills with decent songs. The majority of the new songs have been written together with her son, Richard Tuckey. Most of the album consists of catchy grown-up rock’n’roll. The fantastic “Strings” is my favourite track. Other great songs here are “No Soul/No Control”, “Macho Man”, “Bass Line”, “Heavy Duty” and “Going Down Blues”. “Love Isn’t Fair” is a bit of a weird one. It’s not a bad song at all, but to me, it feels out of place as it sounds like some kind of Caribbean-flavoured pop song. I am not sure what the thinking was here. But the rest of the album is solid. I like this mature version of Suzi Quatro. She’s definitely in control.

Suzi Quatro’s new studio album “No Control” is out now via SPV/Steamhammer.

www.suziquatro.com

www.facebook.com/suziquatrorocks

Gig review: Uriah Heep rocks Roppongi

Uriah Heep on stage at Billboard Live in Roppongi. Photo: Yuma Totsuka

By Stefan Nilsson, Roppongi Rocks 

British classic hard rock band Uriah Heep was formed in 1969. 50 years later they’re better than ever and on stage at Billboard Live in Roppongi performing a terrific show.

Uriah Heep on stage at Billboard Live in Roppongi. Photo: Yuma Totsuka

Uriah Heep at Billboard Live, Roppongi, Tokyo on 20th March 2019 

With 50 years of gigs and 25 studio albums under their belts, British rockers Uriah Heep are better than ever. Founding guitarist Mick Box still leads the band. The current line-up also features Bernie Shaw on vocals, Phil Lanzon on keyboards, Russell Gilbrook on drums and Davey Rimmer on bass. It’s a terrific version of the band. The trademark Heep sound – classic melodic hard rock with plenty of keyboards and vocal harmonies – is done justice by these fine musicians. This is not least very apparent in the new material.

Mick Box of Uriah Heep on stage at Billboard Live in Roppongi. Photo: Yuma Totsuka

The 70-minute set offers us a terrific blend of classic Heep and some of the band’s newer material. The band’s latest studio album, 2018’s “Living the Dream”, is fantastic. In a short ten-song set we get to hear four songs from the new album: “Grazed by Heaven”, “Take Away My Soul”, “Waters Flowin’” and “Rocks in the Road”. But, of course, we also get some of the band’s classic songs from the 1970s: “Return to Fantasy”, “Rainbow Demon”, “Gypsy” and “Look at Yourself”. Billboard Live is a terrific venue for classic rock bands such as Uriah Heep. Because of the venue’s tiered, multi-level seating, everyone is close to the band and has a great view. 

Mick Box is smiling throughout the whole set. He is still a terrific guitarist and it is obvious he still loves it up on stage. Bernie Shaw has been singing with Heep since 1986 and he is a top frontman and vocalist. The band is tight and they give us some fantastic jamming. “Rocks in the Road” turns into an absolutely amazing jam and “Look at Yourself” is also turned into a world-class jam. A splendid version of “Gypsy” is an obvious highlight in a flawless set. The band finishes with classics “Lady in Black” (with the whole audience singing along) and “Easy Livin’”. With the 50th anniversary reached, it now feels as if this band can now aim for 100 years.

Mick Box and Davey Rimmer of Uriah Heep on stage at Billboard Live in Roppongi. Photo: Yuma Totsuka

www.facebook.com/uriahheepofficial

www.uriah-heep.com

Gig review: Marty Friedman up close and personal in Tokyo

Marty Friedman and Stefan Nilsson of Roppongi Rocks after the La Donna show.

By Stefan Nilsson, Roppongi Rocks 

Marty Friedman continues with his series of special, one-off shows in Tokyo for his Japanese fans. It’s such a treat for Marty’s fans to see him up close and personal and performing music that is rarely performed by him in his usual shows.

Marty Friedman at La Donna, Harajuku, Tokyo on 15th March 2019

Having just completed a successful US tour, guitar hero Marty Friedman appears on stage in Tokyo with an almost completely different band where only fierce bassist Kiyoshi (an insanely talented bassist that Marty should always play with) remains. It’s not only the band that is different. The setlist is also vastly different. These special shows in Tokyo, Marty’s adopted home town, are very special to the die-hard Marty fans. At La Donna in Harajuku, the audience is seated at tables and served food and drinks during the performance. Having seen Marty return to his Hawaii, Cacophony and Megadeth heavy metal roots when he guested NWOBHM veterans Raven for two songs the night before (performing Raven classics “Fire Power and Wiped Out”), it is a big contrast to see him now perform calmer music. But that is Marty in a nutshell – he has so many sides to him as an artist and he keeps evolving. Fortunately for us here in Japan, we get to see Marty do things that fans in other parts of the world rarely, if ever, get to experience. For this splendid evening of emotional compositions, a celebration of the arrival of spring, he is backed not only by Kiyoshi on bass and a rhythm guitarist, a drummer and a keyboardist. He also makes great use of a violinist and cellist. This special show is labelled “Brilliant New Era” and Marty describes it as an “orchestral ballad concert”. That sums it up pretty well. He makes his guitar both weep and laugh. Marty’s guitar certainly has a soul and he makes it show the audience its emotions, both its sad and happier moments. The chemistry between him and the other musicians is terrific which allows Marty to focus on his guitar as he knows he has solid backing from the band. 

A couple of the evening’s absolute highlights include a great version of “Tears of an Angel” (with a splendid violin intro) from the 2008 album “Future Addict” and “For a Friend” from 2017’s “Wall of Sound” album. We obviously get to hear both “Yuki No Hana” and “Kaeri Taku Natta Yo”. “Thunder March” from 1988’s “Dragon’s Kiss” album is performed during the encore, but we also get some special deep cuts in this show. Marty is obviously a world-class guitarist, but he is much more than that. He knows how to entertain and charm a Japanese audience with the right mix of terrific music and self-deprecating jokes (all of the talking during the show is done in Japanese). After the show, Marty stays to chat with his fans and signs autographs. He knows what the Japanese fans want and he makes sure they get it. 

The next special Tokyo show with Marty is planned for early July. Date, venue and ticket details to be confirmed. 

www.facebook.com/martyfriedman.official

www.martyfriedman.com

Album review: Mötley Crüe “The Dirt – Soundtrack”

By Stefan Nilsson, Roppongi Rocks

Mötley Crüe gives us a fantastic collection of old songs on this new movie soundtrack. But the new material falls short of expectations. 

This 18-song soundtrack to the forthcoming movie about the history of LA band Mötley Crüe contains a lot of great, sleazy LA hair metal of the best kind. From early favourites such as “Red Hot”, “Live Wire”, “Shout at the Devil” and “Looks That Kill”, to later – more commercial – mainstream songs such as “Home Sweet Home”, “Girls, Girls, Girls”, “Kickstart My Heart” and “Dr. Feelgood”, this is all fantastic stuff bringing back some great memories. Personally, I especially like the raw and less polished sound of the early recordings. I love the guitar sound Mick Mars had back then!

Nikki Sixx on stage in Japan in 2016. Photo: Stefan Nilsson, Roppongi Rocks

BUT, and that is a big but, this soundtrack also contains four newly recorded songs. The news that Mötley Crüe would be recording new music for this soundtrack got many fans excited. At the planning stage, it probably sounded like a great idea to include some new music to avoid this just being a greatest hits collection of songs that the fans already have. In reality, it doesn’t work as the new material isn’t very good. “The Dirt (Est. 1981)” – featuring a guest appearance by rapper Machine Gun Kelly (who plays Tommy Lee in the movie) – is a boring song where Mötley seems to be trying to combine its 80s sound with some contemporary touches. In the process, they seem to have lost their way. The result is confused and not good. The other two new songs, “Ride with the Devil” and “Crash and Burn”, follow the same pattern and it’s just boring music with none of the excitement that the band’s best work has. Then there’s the Madonna cover, “Like a Virgin”. Why on Earth have they decided to do this? It’s terrible. Maybe it is some kind of internal joke.

Let’s ignore the new material and focus on the good old stuff that made us like this band in the first place. Lucky us that we still have the old Mötley Crüe classics to bring back sweet memories of some great shows and parties in the 80s and early 90s. Long live the terrific and decadent legacy of Mötley Crüe!

Both the soundtrack and the movie “The Dirt” will be released on 22nd March.

www.facebook.com/motleycrue

www.motley.com

Gig review: Raven rocks until it drops in Tokyo

Raven on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

Proper heavy metal knockout by NWOBHM legends Raven in Tokyo. What a band! What a show! A band that rocks until it drops.

Raven on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Raven at Club Seata, Kichijoji, Tokyo on 14th March 2019

Wow! What a pleasant evening of proper old-school heavy metal. 45 years after the band was founded in Newcastle, England in 1974 by brothers John Gallagher and Mark Gallagher, Raven is still going strong. And they sound better than ever. The latest addition to this powerful trio is American drummer Mike Heller, most famous as the drummer for Fear Factory. He’s a great fit for Raven and has the energy to keep up with the unstoppable Gallagher brothers.

Mark Gallagher of Raven on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

This evening’s show, the first of the band’s two Tokyo shows, is focused on Raven’s first three studio albums: “Rock Until You Drop” (1981), “Wiped Out” (1982) and “All for One” (1983). We get classic songs such as “Take Control”, “Hell Patrol”, “All for One” and “Hung, Drawn & Quartered”. We also get treated to a brand new and unreleased song called “Top of the Mountain”. It is classic Raven and right up there with their best songs. One of the evening’s highlights is a splendid version of the terrific song “Rock Until You Drop”. Other highlights include “Faster Than the Speed of Light” and “Mind over Metal”. Another treat is a medley of The Sweet classics “Hellraiser” and “Action”.

Raven on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Throughout the show, Mark Gallagher shows what a terrific lead guitarist he is. He is such an underrated guitarist that has influenced many of the world’s greatest guitar players. One of them, Marty Friedman, joins Raven on stage for two songs – “Fire Power” and “Wiped Out” – in the middle of the set. It’s great to see Friedman play in-your-face metal. He’s clearly loving it as he can’t stop smiling during the performance. John Gallagher puts on a bass solo with a difference. Treating his bass like a cross of a guitar and a keyboard, he manages to create some fantastic music that one would not expect in a heavy metal bass solo.

Raven and Marty Friedman on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

A fantastic heavy metal evening is summed up nicely with a fantastic and sweaty final which includes songs such as “Don’t Need Your Money”, the band’s 1980 debut single, “Crash Bang Wallop” and “Seek and Destroy”.

Raven on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

www.facebook.com/ravenbandofficial

www.ravenlunatics.com

Gig review: Napalm Death – quite possibly the best band in the world

Barney and Shane Embury of Napalm Death. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Legendary Birmingham grindcore band Napalm Death, quite possibly the best band in the world, never disappoints live. They just bulldozed Tokyo once again. 

Extreme the Dojo with Napalm Death, Eyehategod, Misery Index and Melt-Banana at Club Quattro, Shibuya, Tokyo on 6th March 2019

Mike Williams and Jimmy Bower of Eyehategod. Photo: Stefan Nilsson, Roppongi Rocks

The opening acts at this year’s Extreme the Dojo happening – Japanese noise rockers Melt-Banana and American bands Misery Index and Eyehategod – do a great job of getting this extreme music evening going. Misery Index gives us a set filled with punky death metal with some grindcore touches, while Eyehategod (featuring Down drummer Jimmy Bower on guitar) offers us an interesting heavy blues-punk mix of sludge metal and stoner rock topped off with anxious vocalist Mike Williams’ tortured voice and troubled stage presence.

Shane Embury of Napalm Death. Photo: Stefan Nilsson, Roppongi Rocks

The evening’s headline act, the mighty Napalm Death, has never disappointed me live. This evening is no exception. Meeting the band backstage before the gig, it is obvious they are ready and eager. The band’s non-stop energy, the intensity, the buckets of sweat they produce and their love of performing their music in front of dedicated fans, all shine through in the quality of the performance. Vocalist Barney, bassist Shane Embury, drummer Danny Herrera and live guitarist John Cooke are a tight musical machine and they know where they have each other. Barney doesn’t stand still for a second during the show. He really is an artist giving it his all. The sharp contrast between the extreme music and Barney’s very polite use of the English language (although it is spiced up with a few expletives here and there) is all part of the Napalm Death experience.

Barney of Napalm Death. Photo: Stefan Nilsson, Roppongi Rocks

They open the set with the hard-hitting “Multinational Corporations” and follow it with “It’s a M.A.N.S. World”. This evening we get a fine setlist with some of our favourite Napalm Death songs, including “Practice What You Preach”, “Continuing the War on Stupidity”, “Life?” and, of course, “Scum”. From the band’s most recent studio album, 2015’s “Apex Predator – Easy Meat”, we get to hear “Smash a Single Digit” and “Cesspits”. Additionally, we get a couple of terrific covers – Dead Kennedys’ “Nazi Punks Fuck Off” and Anti Cimex’s “Victims of a Bomb Raid”. It’s a set based on controlled chaos delivered by a superb band of grindcore masters.

Barney of Napalm Death. Photo: Stefan Nilsson, Roppongi Rocks

This was another terrific performance by what is quite possibly the best band in the world. No doubt they will be back to perform for their ever-growing number of loyal Japanese fans. 

www.facebook.com/officialnapalmdeath

www.napalmdeath.org

Interview: Angela Gossow explains why Arch Enemy’s Black Earth project is exclusively for Japan

By Stefan Nilsson, Roppongi Rocks 

Black Earth is a celebration of the early days of Swedish metal band Arch Enemy. With a Black Earth compilation album about to be released and a new Japan tour around the corner, Angela Gossow explains to Roppongi Rocks’ Stefan Nilsson why this is a Japan-only affair.

In 2015, Arch Enemy brought up former members Johan Liiva (vocals) and Christopher Amott (guitar) onstage during their gig at the Loud Park festival in Japan. It was a reunion of the band’s original line-up that pleased the fans. In 2016, Black Earth, as this Arch Enemy side project was named, did a full tour of Japan (documented on the special live release “20 Years of Dark Insanity”). Then, in 2017, Black Earth appeared as a secret act at that year’s Loud Park festival. Now Black Earth is getting ready for a full tour of Japan once again. Roppongi Rocks checked in with former Arch Enemy vocalist Angela Gossow, current manager of both Arch Enemy and Black Earth, to have a chat about the thinking behind this exciting reunion.

“The idea for the Black Earth project started back in 2015 when Michael Amott realised that the 20th anniversary of the debut Arch Enemy album ‘Black Earth’ was about to take place the following year,” explains Angela Gossow to Roppongi Rocks. “After thinking things through how to properly celebrate this important landmark of his career, he talked to original Arch Enemy members and co-founders Johan Liiva and Christopher Amott and it was decided to put together this new side project under the Black Earth banner where they would play the music from the first three Arch Enemy albums, as true to the original versions as possible. The very successful Japan tour in 2016, as well as their surprise set at Loud Park 2017, was something that they enjoyed very much, as did the fans! Now the guys are gearing up to celebrate the 20th anniversary of the 1999 album ‘Burning Bridges’ with an extensive tour of Japan again! They will play that album in its entirety as well as digging into the old-school songs from ‘Black Earth’ and ‘Stigmata’. They also have two newly composed songs that are available on the “Path Of The Immortal” compilation album which will come out in Japan on March 20!”

Black Earth has been a Japan-only affair, which has made these shows even more special to the Japanese fans. Angela Gossow explains why: “The reason for the Black Earth band only performing in Japan is quite simple, the members have a limited time in their busy schedules to do this and they choose to perform exclusively in Japan – so far – due to the fact that Japan is where they had their first success in the 90s with the first three Arch Enemy albums and tours. With the exclusive Black Earth concerts and material that is released in Japan they wish to say thank you for the long-time support of the Japanese fans for a journey that has lasted over twenty years now!“

Johan Liiva and Christopher Amott of Black Earth performing in Tokyo in 2016. Photo: Stefan Nilsson, Roppongi Rocks

Black Earth – consisting of Michael Amott (guitar), Christopher Amott (guitar), Johan Liiva (vocals), Daniel Erlandsson (drums) and Sharlee D’Angelo (bass) – will do a total of nine gigs in Japan in May. The tour will take them to Tokyo, Nagoya, Sendai, Hokkaido, Kumamoto, Fukuoka, Hiroshima and Osaka. Full tour dates and ticket info from Creativeman Productions can be found here: www.creativeman.co.jp/event/black-earth19

Black Earth’s “Path Of The Immortal” compilation album will be released in Japan on 20th March via Trooper Entertainment. Additionally, the current line-up of Arch Enemy will perform at the Download Japan festival on 21st March. 

www.facebook.com/blackearthofficial

www.trooper.co.jp/artist_blackearth

Album review: Disrated “Celestial Abhorrence”

By Stefan Nilsson, Roppongi Rocks 

The arrival of Disrated’s “Celestial Abhorrence” gives us another great extreme metal debut album by a Swedish band.

Disrated is a new Swedish extreme metal band formed in Stockholm in 2016. The band’s music is punishingly brutal, but with many technical parts and some serious groove as well. Having earlier released a single and an EP, the band’s first full-length studio album, “Celestial Abhorrence”, is now available. Sweden, of course, has a proud tradition of producing terrific extreme metal bands (is it the long, cold and dark winters, the high taxes, the IKEA flatpacks, the Viking heritage or something else?), but it is still a bit of a surprise to hear such fine brutality on a debut album by a new band. There are some great tech death influences here. It is exhausting to listen to technical tracks such as “Angel Maker” and “Blackout”. It’s angry in a “bodybuilder with a master’s degree in architecture” kind of way. Fantastic stuff that demands your attention. It is not exactly background music. The fast and technical track “Gehenna” is my favourite on this album. The music on the album is brutal and quite technically advanced, but the band still manages to retain an underground feeling in much of its music (for example, listen to the track “Dead & Loving It”), which is a huge plus. This is no doubt a band to keep an eye on. Since the album was recorded they have brought in a new lead vocalist. Hopefully that is not something that will slow this heavy freight train down. 

www.facebook.com/disrated