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Reviews are inherently subjective and ultimately a matter of opinion, so the summaries below are based on one listener's opinion in the context of the traditional/melodic/power metal genre. Links to each band's web site are included whenever possible, so please check out the artists and albums for yourself!
 Chaos Control — Gathering Chaos
2002 Eternal Energy Records/Vigilante Inc.
This is the debut offering from Chaos Control, a six-track EP that delivers melodic speed metal in the vein of Gamma Ray, Heritage, and similar bands. The songs are filled with speedy rhythms, guitar harmonies, blazing double-bass drumming, and powerful high-pitched vocal melodies. This CD is very much a testament to the unity of the Japanese metal scene, as the list of players on the album includes drumming support from Heritage's Takayoshi Saito, bass support from Vigilante's Makoto Unno, backing vocals from Vigilante's Hideaki Niwa, and lyrical contributions from Niwa san and Heritage's Kei Tanaka. As with all releases from the Vigilante label/studio, this disc is very classy and well-produced. Sure, I could nitpick that the bass drums sound a little uneven in places, but my main complaint about this record is that it is so short...a quick intro plus five songs is standard EP length, or other little stuff, but the bottom line is that at the end of the disc I am left wanting more. That seems like a good sign to me, and I'm really looking forward to hearing much more from this band in the future!
> Chaos Control web site < [use Internet Explorer for best results]
 Düel — Death Wish
2002 Highways Records
Düel calls their style of music "violent rock" (as in Violent Rock and Alcohol, the title of the band's first demo recording). Death Wish is the band's second CD and first full-length album, following 2001's Outlaw Horses Comin' EP, which I have not heard. The band is typically referred to as the Japanese version of Tank, and that is a pretty good description of Duel's mix of Motörhead's aggression and Maiden's melody. (And of course, this new CD features a tank on its cover...) The tunes are straight-ahead metal anthems that gallop and pound along, punctuated by great melodic guitarwork from Blasdead axeman Shoji Yasuno (his playing is the highlight of the album for me). The overall production is loud and raw, and the album is relentless through the 11 tracks. As with Motörhead records or releases by bands of this style, I typically begin to lose interest about halfway through an album, and the same holds true for me here. But Düel is nothing more than pure, 100% heavy metal, so fans of in-your-face heavy music will surely love this band and their powerful metallic assault.
> Düel web site <
 Galatea — Fate ~ Tales of Past
2002 G.I.E.D. Records
This EP is Galatea's fourth release, following their debut album and a pair of CD singles. Even though there are five tracks on this CD, only two of them are two actual songs; the other three tracks are an acoustic intro, interlude, and outro with some narration. In addition, the track "The Wheel of Fate" appeared on the Another World single with the alternate title "A Tale of Past." But even though there is actually only one "new" song here, I really like the melodic power metal that the band offers, and Kyohko's vocals are strong and clean. Both of the actual songs are quite long (9 minutes and 11 minutes), but the tunes are well-constructed and do not seem drawn out or repetitive. Unfortunately, in some places the narration and sound effects that support the conceptual storyline are placed over the main vocal line and/or guitar melodies, and it can be somewhat distracting. But the acoustic interludes do a nice job of linking the songs together into one musical and thematic piece, so it's easy to listen to the CD all the way through (I find myself just putting the CD on "repeat play" and letting it go). Galatea is currently working on the follow-up album called Tales of Past II, so hopefully this forthcoming record will deliver more catchy melodic metal. In the meantime, check out drummer Masayuki "Ampan" Suzuki's thrash band RDX, which has released two CD singles.
> Galatea web site <
 Genocide (Nippon) — The Rites
2001 Satanic Lust Records
More than 10 years after their sole album Black Sanctuary was released, Genocide (Nippon) reunited (with a new drummer and bass player) in fall of 2000 to play a Halloween show in Tokyo. This "official bootleg" CD release includes the set from that gig as well as an archive performance from July 1984 (location unknown!). Since neither of these recordings were official soundboard captures, the sound quality is not perfect, but this gives the disc a true "live" feeling and lets the energy of the songs shine through. The set lists from both shows include some of the same tunes, but the repetition is not really a problem, and it's actually interesting to compare the versions recorded then and now. Tracks like "Doomsday" and "Bullet in the Wrong Heart" are terrific, and the monster track "Living Legend"" comes across perfectly. In addition, the band smokes through several songs that do not appear on their studio album. Personally, I really wish these guys had made more than just one record, and I miss the inclusion of live versions of tracks like "Last Confusion" and "Black Sanctuary." But in the end, this live album is a wonderful gift from the band, and it's an ideal way to enjoy their unique blend of power and doom elements. Many metalheads in Japan probably already have this, so now it's time for metal fans from elsewhere in the world to "discover" this band and check out this killer release.
> Genocide (Nippon) web site <
 Halloween — No One Gets Out!
2001 Molten Metal Records
U.S. horror metal masters Halloween released a limited number of these CDs in 1991, but the independent CD quickly became virtually impossible to find. Now, thanks to small U.S. label Molten Metal Records (the same label that released the band's "lost" 1986 album Victims of the Night), NOGO is available again, with brand-new packaging and five bonus tracks from the band's excellent Vicious demo. The overall style of NOGO is somewhat different from the band's previous albums, probably because the band had recruited a new guitarist and drummer at the time the album was recorded. Songs like "Crawl to the Altar" and the title track have a kind of thrashy edge, while the crunchy gallop of "Kings" offers a slower pace that is just as effective. The production is very clean, letting the power of the songs shine through crisply. Plus, the band pays tribute to one of their major influences by offering their metallic version of KISS' "Detroit Rock City." The bonus tracks from the Vicious demo are truly a bonus, and it is almost worth buying the CD just for those five songs. Demo tracks like "I Confess" and "Evil Nation" are classic U.S. 80s metal, and the inclusion of these previously unreleased tunes makes this excellent CD a sure bet for metal fans. Halloween is preparing to release their new CD, but hungry fans can pick up this reissue to keep them happy while they're waiting for the band's latest offering.
> Halloween web site <
 Hellhound — Tokyo Flying V Massacre
2006 Black-Listed Records / Majestic Rock
OK, I'm going to tell you a few things about this record, and I'll bet you'll be able to tell me exactly what it sounds like. Here we go. The band members have names like Dragonblaster and Swordmaster and wear lots of spikes n studs n denim vests with band patches. The cover photo for this album could have been on an Exciter record in the early 80s. The band specifically waited until 06 June 2006 to release the record (6/6/(0)6, of course). Six of the ten songs on this album have the word 'metal' in the title. Yes, it's the first full-length release from Japan's Hellhound, and it is every bit as over-the-top as Manowar ever tried to be. Following up their first EP (and rerecording two tracks from it), Hellhound returns in top form with this mix of fast riff-driven tunes and triumphant metal anthems, and you can tell that the band is having great fun as they wallow in every metal cliche ever created. Fortunately, the band's playing is rock solid, and the production is clean enough to be pleasant yet still exudes that "old school" vibe. With an album like this, you pretty much know what you're getting before you even remove the shrinkwrap, so don't expect this one to break new musical or lyrical ground or to deviate from the standard heavy metal traditions. But if you're looking for heavy metal that is proud to be loud and you need something to fit into your collection next to your Metalucifer albums, you will certainly want to check out Hellhound.
> Hellhound web site <
 Ivory Knight — Up From the Ashes
2001 independent
I will admit that I was a little disappointed when I first heard this CD, Ivory Knight's official full-length debut disc. After all, none of the songs from the Voices in Your Nightmare demo had made it onto the record, and the whole album seemed to lack the energy of that first demo recording. But then a few days later, I found myself humming several of the tunes to myself as the subtle hooks of the album grabbed me. The tunes are not flashy or needlessly complex, nor are they particularly heavy. No, this is traditional melodic hard rock/metal that offers solid compositions and nice chorus melodies. The guitar could use a bit more crunch in some places, as it's not quite as prominent as it should be, but Rob Gravelle's leads push through with no problem. "Last Dance" is quite memorable and may be my favorite track on the disc, followed closely by "Picture of Innocence," a simple yet haunting ballad that highlights John Devadasan Perinbam's vocals. Most of the tunes sit comfortably in the midtempo range, and I would have enjoyed a bit more variation in the pacing and some speedier material in places. Maybe next time. Unfortunately, the production of the record doesn't really flatter the material like it should; very little bass guitar is present, and the overall sound is rather muted and seems to lack full power. This is a shame, because the material shows a promising start for this band.
> Ivory Knight web site <
 Joshua Perahia — Something to Say
2001 M&K Sound Recordings
This band has been around since the mid-80s, releasing a handful of albums under the names Joshua and M Pire. This latest offering, under the name Joshua Perahia, finds a new lineup delivering standard hard rock in the vein of Whitesnake or perhaps Journey, with some light bluesy flavors in a few places. The compositions are solid enough, although I think that versions of at least four of these tracks have appeared on the band's previous records. Lead guitarist Joshua P. injects some fine fretwork into some of the tunes, and his playing is a highlight of the album. Overall, the songs are based on very familiar hard rock stylings and have a comfortable feeling to them, like you've heard them before. The material doesn't exactly break new creative ground, but tunes like "Guiding Light" and "Precious Love" seem catchy enough, and there are a couple of memorable moments throughout the disc. In terms of pacing, there are too many ballad-type songs here for me, including two versions of the first single, a remake of "Remembering You" from the band's 1988 release Intense Defense. In the end, this is too bland to really do much for me, but it's a basic hard rock album that will probably please fans of that genre.
> Joshua Perahia web site <
 Moon Struck — Fatal Blow
2002 Independent
After four long years, Moon Struck has finally released a follow-up to their excellent self-titled EP from 1998. (Actually, the band appeared on the Make It Shine Vol. 3 video comp with an excellent unreleased track called "Resurrection.") Most of the players on this new EP are different from the members that recorded that first CD, which is perhaps why this new disc has a more of a neoclassical feel than the earlier material. The title track is an up-tempo tune with solid playing, but "Who Will Stand in Jerusalem?" is probably my favorite song of the batch, with a killer vocal performance from Mikoto and a main riff that actually reminds me of Fatima Hill in some ways. The EP closes with the acoustic ballad "Give Me Two Wings"...it's a good tune, but since there are only three tracks here, I would have preferred another heavy track. The production on this EP is not as crisp as that on the band's first release, sounding a bit muffled or muted. But these songs are quite good, so the small details can be corrected on the next release. The band has quite an extensive catalog of songs, so I'm hoping that soon we will get a full album from Moon Struck.
> Moon Struck web site <
 Hubi Meisel — Cut
2002 Meiz Records
I didn't hear any of Hubi Meisel's recordings with German prog band Dreamscape, so this collection of oddly chosen cover tunes was my first introduction to his voice. While he does have a unique vocal style, I'm afraid this album strikes me as largely forgettable (and sometimes painful). There is some good playing on here, so it's not really a question of talent. For me, I kept waiting for more power in the delivery, as some of the vocal lines seemed too quiet, and in some cases (such as Rush's "Red Sector A"), it felt like Hubi was more or less talking his way through the track (admittedly, Geddy Lee has a very distinctive voice that might be tough to imitate). Anyway, Hubi already has a Japanese fan club, so maybe there is a built-in fan base already. Perhaps things would be more interesting with original material, as it's inevitable that cover versions will be compared against the originals...
> Hubi Meisel web site <
 Proletarier — Revenge
2002 Independent
I know very little of this band's history, but this three-track release seems to be the "official" follow-up to their self-titled 1999 album (although the band has issued a one-track single for the past two Christmas holidays). Simply put, this is terrific melodic metal/hard rock that is tightly constructed and perfectly executed. The songwriting covers different styles and demonstrates how versatile the band is, ranging from the quick, melodic riffing of the title track to the poppy feel of "Stalking Memories" to the power ballad "Old Friend" that closes out the CD. The vocals and playing are all excellent, and the production is crisp and clear, with each instrument occupying its own space in the mix. Really, the only thing wrong with this CD is that it is too short—three tracks is not enough! This EP was actually released in 2002, so let's hope that Proletarier is getting ready to give us a full-length album. I look forward to hearing much more from this band.
Note: I've since had an opportunity to hear the band's first album, and it is also filled with a great blend of poppy metal and hard rock. Look for it!
> Proletarier web site <
 Rain — Bigditch 4707
2000 Independent
This Italian band was formed in 1980, and this oddly titled album is actually Rain's fourth release (not including 1984's debut demo tape). The sound here is 100% traditional 80s metal and hard rock, with straightforward compositions that combine good riffs with good vocals. Even if the style is not the most original, the performances are solid and the songs have some nice hooks. The band is most successful when it keeps to the basic hard rock formula...I could do without blues-rock experiments like "Little Devil." This CD was actually released independently several years ago (although I just recently received a copy for review), and the package is very nice, including a logo sticker and guitar pick as well as CD-ROM files of photos, song lyrics, and a band biography in several languages. Rain is currently finishing work on Headshaker, their first album for French label Deadsun Records, with a scheduled release likely sometime in summer/fall 2003.
> Rain web site <
 Eizo Sakamoto — Shout Drunker
2002 Tokuma Japan Communications
Eizo Sakamoto is one of the mainstay vocalists of Japanese metal, starting out as the original vocalist for Anthem (and now recording with them again) and moving on to Nerima Macho Man, Animetal, Jam Project, and a host of session vocal appearances. Here, on his second solo album, Sakamoto san once again offers a wide range of metal stylings that demonstrate the versatility and strength of his powerful voice. The disc offers heavy thrashy tunes like opener "Mr. Heavy Metal" as well as the friendlier J-pop sounds of "Ready for Love." And, as he did on his first solo disc, Metal Icchokusen, Sakamoto san does a few cover tunes; included here are versions of 80s metal songs from Van Halen and Rough Cutt, although I would have preferred more original songs instead of the cover songs. I think I enjoy his first solo album a little bit more, but Sakamoto san's voice is still in top form, and the variety of song styles makes the record very pleasant to listen to. I could do without the guitar solo instrumental, "Evil Power II" (a continuation of the same from his first album), but it's not a major complaint. Sakamoto san is a very busy guy, but everything he does seems to be of the highest quality, and this album is further proof of that.
> Eizo Sakamoto web site <
 Steve Saluto
Under (1999) – A Different Fire (2001) – Guitar Chef Volume 1 (2002)
Under is the first solo album from Italian axeman Steve Saluto, who has played with a variety of bands and artists in Italy with styles ranging from rock to jazz to soul. This album, however, is 100% hard rock. With a collection of solid songs and a talented backing band, Saluto blazes through 8 vocal tracks and 3 instrumentals. Many guitar-based records suffer from stellar playing hidden inside weak songwriting, but Saluto offers up some pretty catchy songs in an accessible style. Tracks like "We'll Rock" and "I Can't Wait" are no-frills hard rock and serve as a good backdrop for Saluto's playing. Saluto also had the presence of mind to make the instrumental tracks focused and compact, relatively short musical jabs instead of drawn-out ego pieces.
Follow-up EP A Different Fire is more of a funk/jazz album, with virtually no trace of the heaviness of the debut disc. Saluto presents three original tracks as well as a funky cover version of Deep Purple's "Strange Kind of Woman." The title track reminds me quite a bit of Extreme's "More Than Words", and Saluto seems comfortable playing in this style and demonstrates his versatility nicely. However, I much prefer the hard rock found on Under to the jazzy grooves found on this EP. Saluto also handles vocals on this release, and his voice is OK but probably not as strong as that of a proper singer. Fans of a funkier style of rock may enjoy this EP, but those looking for tunes with a harder sound may want to wait and see what Saluto does on his next release. Find out more at http://www.stevesaluto.com.
Italian zine Guitar Chef released this EP to showcase four up-and-coming Italian axemen, and the disc is nicely done even if the featured instrumental songs are somewhat uneven. Alex De Rosso's opening track is a nice, fairly heavy tune, while Steve Saluto offers a jazzy rock number that is elevated by a blistering performance from the rhythm section. The other two tracks come across as less successful and not quite as interesting, largely because of the use of monotonous programmed rhythm tracks. William Stravato's offering is a rather plodding bluesy/jazzy tune, while Matt Cafissi's disc closer manages to pull a few nice melodies out of a weak techno-flavored groove track. Like most guitar-oriented instrumental releases, this EP may have limited appeal and will probably be of greater interest to guitar players or musicians. But the production and packaging are well done, and the players are technically proficient, so anyone looking to see what the new breed of Italian guitarists are up to might want to check out this EP at http://www.guitarchef.cjb.net.
 Seventh Heaven — The Gate of Seventh Heaven
2005 YggrDrasill Records
Finally! Ever since I heard some early demos from this band [read the review], I've been waiting eagerly for a full CD. I'm pleased to report that the band does not disappoint on this debut disc, offering their brand of classy melodic metal that highlights Yoshie Nagase's wonderful voice. If you've ever heard the band's music before, then you'll instantly recognize Seiji Matsuki's warm guitar tone from the first note of the CD, which begins with an intro piece that helps to link the first three tracks into a single musical entity. Anchored by a solid rhythm section and some occasional keyboards, the tunes range from solid, midpaced offerings like "Burning Wings" to slower ballads like "Walk Alone" to brisk, energetic tracks like "Borderline", which is one of the band's older songs and one of the only early demo tracks to make it onto this release. ("So Cruel" was the title track to the band's first official maxi-single and appears here with a new intro and a similar arrangement.) This is high-quality metal, and my only complaint is that the album is far too short; with an intro, two brief instrumentals, and an outro, there are only six full songs, and the CD flies by very quickly. I'm hopeful that the band's next release will correct this by offering more metal gems and by presenting some other early demo tracks (songs like "Winds Blowing Hard" are too good to miss!). In the meantime, pick up this excellent album, and also be sure to check out a new/nonalbum SH track on the Samurai Metal Vol. 1 compilation [read the review].
> Seventh Heaven web site <
 Sex Machineguns — Burning Hammer
2001 Toshiba-EMI
First, I have to admit that I love this band. I absolutely dig their blend of speedy thrashy riffing with melodic power metal themes and J-Pop styles, and their first (major) CD is still one of my favorite releases of the past few years. So it's not surprising that I really like this new live album from Sex Machineguns. Actually, it's both a live record and a "best of" collection, as the band blazes through some of the best songs from their studio albums. Highlights include speedy versions of "Tekken II", "High Speed Samurai", and "German Power", as well as a massive version of "Japan." I would have liked to hear "Hanabi-La" or "Illusion City", but at least the live set does include the non-album track "Mika No Uta" as well as the "rare" song "Kiss" that the band only plays during concerts. The sound production is very good, and the booklet is packed with live photos of the band in action. Note that the set list is missing the band's namesake song "Sex Machinegun"; the live version of this song is available only with the first pressings of the album, which feature a bonus CD that also includes a "live studio" version of "Mika No Uta." I generally do not consider live albums as essential additions to a metal collection, but this is a great CD that captures the melody and aggression of a Sex Machineguns concert. Now if I could only get to Japan to see them actually play live....
> Sex Machineguns web site <
 Siegfried — Remains
2001 Independent
After more than 10 years as a band, Siegfried have finally released their debut CD of Black Sabbath-influenced metal with strong female vocals a la Fatima Hill, with some classic Terra Rosa thrown into the mix. Remains is full of solid midpaced melodic metal played with confidence and class. The band's experience is evident in mature compositions such as "Against the Sun,", an eight-minute balladesque tune that builds from a moody acoustic beginning to a heavy uptempo conclusion. Many of the songs are reasonably long (five of the nine tracks are 6+ minutes each), but the material is arranged well and is quite compelling and memorable. Japanese metal bands seem to have a way of finding terrific female singers, and Siegfried is no exception, as Mai Araki's vocals are excellent. It's great to see an independent release that is as nicely done as this one...great production, complete packaging, very professional. For those looking to take a break from the overdone Eurometal style, Siegfried provides a welcome trip back into classic metal stylings.
> Siegfried web site <
 Sift — Sift
2001 Independent
This is Sift's second self-titled release, a four-track EP to follow up their initial demo. The band hails from the San Francisco Bay Area, a former breeding ground for hosts of thrash metal bands, but Sift has a very modern sound, and the overall feeling is dark, angry, and brooding. The music itself is in the vein of Alice in Chains, Tool, and other such "alternative" outfits, minus the guitar solos (nope, not a single lead on the EP). The songs tend to stick to slower tempos, but at least the material is far tighter than the long, meandering tunes that appeared on the first release. There are a few memorable moments (parts of "Lionfish" almost border on catchy), but fans of traditional/power metal will find little of interest here, as this is strictly a "new school" approach to metal. Still, the band's performance is solid and delivered with conviction, so those with an ear for a more modern style might dig what these guys have to offer.
> Sift web site <
 Various Artists — The Red Hot Burning Hell Vol. 8
2000 Independent
Ever since the early Metal Massacre releases (Vol VII rules!) back in the early 80s, I've been a fan of well-done omnibus albums. When such compilations offer a good selection of quality bands and carefully selected songs, I think it's a great way to learn about a lot of new bands. RHBH Vol. 8 is a perfect example of the way a compilation should be done–a nicely packaged release featuring a handful of excellent Japanese metal bands, each of which contribute two powerful tracks. RHBH Vol. 2 from 2001 is the only other entry in this series that focused on melodic/power metal (many of the early volumes covered more extreme metal territory), so I was glad to see Vol 8 returning to the power metal genre with bands like Blasdead and Death*Land. In fact, this comp signals the thrashy return of Blasdead, who offer two great tunes from their last demo, one of which has been rerecorded for their long-overdue new album. Other bands, like Arcadia and Skywings, offer a more symphonic style, providing a wide range of heaviness that should satisfy most metalheads. While some of these tunes are available on band demos or the like, I believe that some of the tracks are exclusive to this compilation, so this is a great chance to discover some killer new bands and to hear some material that may be tough to find elsewhere. I think that Vol 9 is already on the way (returning to the extreme metal realm), but fans of the traditional metal sound will find plenty to enjoy on this release.
> Lights Out Records web site <
 Various Artists — Samurai Metal Vol. 1
2005 Samurai Sound Association
Just one look at the cover for this compilation and you know it's either going to be very silly or very cool. Thankfully, the latter is the case, as this is a nicely packaged collection of excellent Japanese metal bands. The 13 tracks presented here cover a wide variety of styles and sounds, ranging from Seilane's progressive opener to Balflare's symphonic speed to Grief of War's old school thrash. Those already familiar with the Japanese metal scene should be delighted to hear exclusive nonalbum tracks from indie bands like Seventh Heaven, RocketQueen, Black Masquerade, Mastermind, and Vanguard. Other bands, like All Images Blazing, make their recorded debut here, so there are definitely some new groups to discover as well. All in all, this is a well-done sampler that has plenty to offer fans of Japanese metal, so be sure to check this out before it's gone, since I have a feeling that this is probably one of those indie albums that is pressed in small quantities and may not be around all that long. A second volume is in the works that will feature more of the same quality music, so keep an eye out for that one, and I wonder what the cover for that one will be...
> Samurai Sound web site <
 Xanadu — Forever Ties
2001 Castle Records
After a promotional demo and a spot on the Make It Shine Vol. 3 CD compilation and MIS Vol. 4 video compilation, Xanadu have finally released a full-length album of their melodic hard rock. The overall sound is reminiscent of bands like Blindman, varying from uptempo rockers like "Rising in the West" to softer ballad-type tunes such as "I Still Love You". It seems that the guitar was more prominent in earlier versions of some of these songs, and it might have been nice if there was more crunch and a little less keys. But this is still an excellent melodic rock album, and there are no real weak spots. The songs are well written and memorable, and I always enjoy seeing how songs develop as a band progresses and refines its style. For example, the original introduction to "Julia" has been eliminated, and now the song begins with the main guitar melody. Note that the MIS omnibus is also worth getting, as it features a good non-album track called "Out of My Fate" as well as an earlier version of album closer "Julia".
> Xanadu web site <
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