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DIAMOND REXX Psych Ward
( Diamond / Pavement )
Longtime Chi-town glamsters , Diamond Rexx , have returned with a brand new album with its original lineup — its first since its 1986 cult classic debut release Land of the Damned . Although the band went on hiatus in the 1990 ’ s , a new line up formed in 2001 and recorded the Rexx Erected album , while in 2006 , the band then went dormant again until 2009 when the original line-up reunited to play some live shows . On its fifth full-length album , Psych Ward , vocalist Nasti Habits , guitarist S . Scot Priest , bassist Dave Andre and drummer Johnny Cottone , deliver 13 tracks ( including a raunchy cover of Motörhead ’ s “ Ace of Spades ”) of pure rebellious and sleazy glam / hair metal anthems with an explosive punk rock swagger . Album opener “ The Answer ” immediately catches the listener ’ s attention with its raucous riffs and catchy chorus . “ Teenage Refugee ” and “ That ' s Alright ” shows off the band ’ s dirty punk attitude , while the rogue-ish biker ode “ Ride ” and power ballad “ Ur Everything ” displays the band ’ s riveting ’ 80s glam metal style . Tracks such as “ Love is Pain ” and the title track revel in the band ’ s classic early-era sound , consisting of infectious melodies , razor-like riffs and memorable , sing-along choruses , while “ Dead ” ( originally recorded and released as a single in 2016 ) — which is probably the best track on the entire record — successfully updates the band ’ s sound for today . Nasti Habits ’ vocals have always possessed a raspy charm in a charismatic Alice Cooper-esque kind of way , which fits perfectly with Diamond Rexx ’ s simplistic , blue collar song structures . Although Diamond Rexx will likely remain a coveted underground cult act , the band proves that it ’ s able to offer something exciting and fun with some brand new material .
– Kelley Simms
8
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DEEP PURPLE Whoosh !
( earMUSIC )
Deep Purple return with 21st album Whoosh !, arriving a staggering 52 years following the British rockers ’ 1968 debut LP Shades of Deep Purple ( featuring classic rock staple “ Hush ”). In an age of streaming singles , the band swings for the fences with a collection of songs produced by
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Bob Ezrin ( Alice Cooper , Pink Floyd ). Although only drummer Ian Paice remains from the band ’ s original lineup , the musical engine is stacked with longtime veterans including bassist Roger Glover . At 75 this month , Ian Gillan ’ s voice remains rich and agile . Relative newcomer of 26 years Steve Morse ( Dixie Dregs , Kansas ) carries the mantle of guitar hero cast by Richie Blackmore during the band ’ s heyday . Taking up the trail blazed by the late Jon Lord is keyboardist of 18 years Don Airey . Whoosh ! is the touring juggernaut ’ s fifth album since Lord ’ s friendly passing of the reins in 2002 .
Although most of the songs were written prior to the global pandemic , several songs from Whoosh ! reflect troubled times and prescient concern that the world as we know it could change or vanish in a blink . With such omens in mind , the message behind “ Throw My Bones ” is not to waste a moment . Gillan ’ s narrative describes appreciating the here-and-now , without pinning hopes on a future that may never come . “ Drop the Weapon ” looks at society with a plea to let cooler heads prevail during combustible circumstances . “ Your pride can take a hit ,” sings Glover . Classical music figures twirl into dazzling baroque melodies during the waltz time anthem “ Nothing at All .” Gillan sings about an older generation fiddling as Rome burns , while “ the children seem to be getting alarmed .” Morse and Airey trade bristling solos and synchronize for muscular riffs during “ We Are All the Same in the Dark .” The song posits that we ’ ve ultimately got more in common than not , even in the battle between the sexes . Airey ’ s piano quotes Gershwin during “ No Need to Shout ,” while Gillan rails against tiresome social media pundits who refuse to step down from the soapbox . “ Enough already ,” he suggests , as Paice and Glover drive the message home with a jagged rhythm cribbing from Led Zeppelin ’ s “ Immigrant Song .” Cavernous organ introduces the uneasy , lurching groove of “ Step by Step .” The song eerily details an insidious presence that gradually breaks down and takes control of the spirit , one tiny fragment at a time . The grand arrangement and cartwheeling instrumentation will thrill fans of progressive rock titans like ELP and Kansas , and more recent standard-bearers including Porcupine Tree and Spock ’ s Beard . Straightforward roadhouse rocker “ What the What ” lightens the mood with chugging guitar and rollicking piano . The song is populated by salt-of-the-earth characters , busy wringing the most out of life . Morse allows just enough twang into his guitar to remind you of his legacy with the Dregs . “ The Long Way Round ” is a furious boogie featuring Airey ’ s dazzling analog synthesizer solo and the piledriving propulsion of Paice ’ s drumbeat joined by Glover ’ s galloping bass . Gillan describes wrong turns taken during life , but with a shade of winking optimism that suggests he always wound up in the right place eventually . “ The Power of the Moon ” is an ode to a constant and mysterious presence that maintains its influence
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terious presence that maintains its influence on the natural and spiritual world . Twinkling verses explode into a two-ton chorus with grinding organ and meaty power chords , making way for spine-tingling and supple solos . The song is sure to be a head-banger at concerts alongside classics like “ Smoke on the Water .” Paice and Glover drop the hammer on the hard-hitting “ Man Alive ,” a Twilight Zone-style tale of humanity ’ s survival against steep odds following a cleansing purge by Mother Nature . The album concludes as the musicians cut loose with the raucous instrumental “ And the Address ,” playing like a celebratory closing credits sequence following a thrill-a-minute action movie .
Despite fluctuating membership across five decades , Deep Purple still sounds utterly true to itself with a powerful blend of blues-based hard rock , a unique and pyrotechnic blend of guitar and Hammond organ , captivating vocal presence , and an ironclad rhythm section . In one sense , album title Whoosh ! describes the fleeting flash of Deep Purple ’ s career arc as seen from the inside . Although this album would make a satisfying conclusion , its potency suggests that it ’ s not the end of the era just yet .
– Jeff Elbel
7
REPENTANCE God For A Day
( Art of War )
Since 2018 , local metal newcomers , Repentance , has quickly built its brand of classic American thrash / European-styled melodic death metal with modern extreme metal elements . Initially hitting the scene with a pair of back-to-back demos — released exclusively on YouTube ahead of their live debut opening for Trivium in May , 2018 at The Forge in Joliet – Repentance has just released its ambitious debut full-length album God For A Day . Featuring guitarist Shaun Glass ( ex-Broken Hope , ex-SOIL , ex- Dirge Within ), vocalist Robby J . Fonts ( Stuck Mojo ), lead guitarist Markus Johansson ( Them ), drummer Kanky Lora ( Straight Line Stitch ) and bassist Mike Sylvester ( ex-The Bloodline ), the tight quintet have hit the ground running . Consisting of nine pummeling metal tracks , God For A Day rightfully kicks things off with the ominous , one-plus minute instrumental intro and the band ’ s namesake track , “ Repentance .” Second track and first single “ Only the Damned Die Young ,” — the band ’ s play on words from the classic adage — possesses down-tuned chugging guitar riffs and growled , raspy barks , combined with an anthemic gang-chanted chorus . Fonts ’ s vocal delivery here is much more vicious and well-suited for this style of metal compared to his vocals on the last Stuck Mojo album Here Come the Infidels . From the surging title track , to the ’ 90s Scandinavian melodeath flavor of “ Clarity ,” to the thrash / death metal monstrosity of “ Enter the Gallows ,” Repentance bring their A game like seasoned pros . Tracks “ Snake Oil Humanitarian ” and album closer “ Deliverance ” prove to be the most easily diverse tracks on the album , consisting of multiple tempos changes , various vocal patterns and fluid transitional riffs . There ’ s simply no letting up throughout the record ’ s respectable 33-minute runtime . The production on God For A Day is also equally impressive . Recorded at Electroworks Recording with Chuck Macack ( Born of Osiris , Oceano ) and mixed
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and mastered by engineer Chris Collier ( Prong , Whitesnake ), the sound is loud , aggressive and in your face . If it may seem like this musical style has been done before by countless bands , you wouldn ’ t be mistaken . However , on God For A Day , Repentance proves that it knows how to craft modern extreme metal tunes and pull it off with ferocious velocity .
– Kelley Simms
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PAUL McCARTNEY Flaming Pie Deluxe Edition Box
( Capitol / UMe )
The 1997 release of Paul McCartney ’ s tenth solo album Flaming Pie followed the landmark television series The Beatles Anthology . The album was shaped by that deep dive back into Beatles lore alongside surviving bandmates George Harrison and Ringo Starr , and extended the partnership with ELO mastermind and producer Jeff Lynne that produced posthumous Beatles singles “ Free as a Bird ” and “ Real Love ” from the late John Lennon ’ s demos . Sir George Martin also lent his prodigious skills to the album ’ s creation , and Beatles engineer Geoff Emerick returned to work on the project . The album revived McCartney ’ s chart success following 1993 ’ s Up Off the Ground , earning gold certifications in the UK and US . Flaming Pie also reached # 2 on both countries ’ album charts . The album has now been remastered at McCartney ’ s spiritual home of Abbey Road Studios , and is accompanied by a treasure trove of bonus material . The gentle arpeggios of “ The Song We Were Singing ” underscore memories of days talking amongst friends late into the night about the world . “ But we always came back to the song we were singing at any particular time ,” sings McCartney during a rousing , Scottish-folk infused chorus , citing the muse that has always provided his motivation . Notably , McCartney uses the same acoustic bass for the song that Bill Black played on sessions for Elvis Presley classics including “ Heartbreak Hotel .” “ I go back so far , I ’ m in front of me ,” sings McCartney on heavy rocker “ The World Tonight ,” while trading instruments and sharing harmonies with Lynne . Steve Miller guests on vocal and guitar during the Byrds-like jangle of “ Young Boy ,” rekindling a partnership that had begun at Abbey Road Studios in 1969 . After that song ’ s focused pop , the spontaneous spirit and sense of fun between McCartney and Miller is evident during the blues-based jam “ Used to Be Bad .” The influence of Little Richard and Fats Domino rolls through the thrumming piano pop of the album ’ s title track , along with more than a whiff of ELO ’ s “ Don ’ t Bring Me Down .” The song ’ s title and absurd imagery are drawn from Lennon ’ s famous quip regarding the origin of the Beatles ’ name . The understated and tender “ Little
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