Saturday, June 5, 2010

ROB WHITLOCK OF ULTIMATUM BRINGS THE THUNDER


As the stage goes dark the intensity of the audience starts to reach a fever pitch, Cheering, screaming, yelling, chanting ‘ULTIMATUM!! ULTIMATUM!! ULTIMATUM!!....’ Finally as if on cue the sound of frenzied chord strumming and smashing drums begin to pound away. The lights go up to full blast as Scott Waters and company bound onto the stage. Their platform and pulpit as it were. Tonight another Ultimatum show goes into full tilt lift off; either join the fray or look out!

Very few bands have enjoyed the longevity that Ultimatum has. By continually putting out quality material over the last 15 years they have steadily and surely built up a sizeable international following. By remaining true to their brand of power/thrash metal has continued to bring in more fans, whose zeal is only outshined by the bands commitment to play loud and intense driving metal.

Ultimatum has released several classic power thrash albums, 2000’s The Mechanics of Perilous Times and 2007’s Into the Pit come immediately to mind. Without a compromise of either their sound or their lyrical content compositions such as ‘Heart of Metal’, ‘Temple of the Spirit’, ‘Violence and Bloodshed’ and ‘Blink’ remind us all that Ultimatum means business.

Through out their history a love of heavy metal has continually shined bright and clear. Not following trends but being true to themselves musically and spiritually Ultimatum have gained even a bit more traction with the latest resurgence of thrash metal in the underground. Recent shows with Exciter and Fueled by Fire add to their pedigree of gigs with bands such as Mortification, Once Dead and many others…

Over the course of the bands existence many members have come and gone; they have been guitar players, drummers, and bass players. Except for original members Scott Waters (vocals) and Robert Gutierrez (lead guitars) the only other member with this type of longevity is their highly versatile bass player Rob Whitlock.

Rob’s phenomenal bass playing is all over their last album Lex Metalis and the aforementioned Into the Pit. Rob’s playing compliments lead guitarist Rob Gutierrez playing tastefully and adds the needed punch and back bone to the Ultimatum machine. As Rob and I discussed his love of bass playing he said right up front, “I want my tone to be heavy yet to cut through. Robert and I each have a very distinctive tone. So that, when they’re combined it creates a solid wall of fury.”

The solid wall of fury has brought a hurricane of power to this quintets live assault as any concert goers will tell you. Rob explains “I wouldn't say my tone is ‘clean’ so much as it is ‘clear’”. That is most assuredly an apt definition that clearly is obvious on the ‘Into the Pit’ album.

“I don't use a lot of effects, just some compression and what I call the ‘natural distortion’ that happens between the combination of my Gibson basses with Rotosound round wound strings and my Ampeg Std pro III and 8x10 cab.” Whether you hear that tone in person or on one of the live tracks floating around there is little doubt about the tone Whitlock gets from his gear.

As we continued discussing Rob’s bass playing the topic of influences invariably comes up and he was quick to list his favorites, “The players who really influenced me the most have been Steve Harris, D.D. Verni, Geezer Butler, Pete Way, Cliff Burton, Gene Simmons, and Phil Kennemore. “ With that vast array of influences it’s really no wonder that Rob has been an essential component of Ultimatum’s sound. That vast array of heavy and melodic influences indeed molded one of the underrated musicians in the metal underground.

Scott Water’s lead vocalist for Ultimatum had been patiently waiting for a chance to interject and he found it here, “Rob is Ultimatum. He's a fantastic bass player and he's a big heavy metal fan. I couldn't imagine Ultimatum without him. Yes, the band existed before Rob, but he's become such an integral part of Ultimatum,” At this point Scott leans forward as it were for emphasis, “It just wouldn't be the same without him. He has become a major player in our song writing and in our overall sound.”

Adjusting his sitting position Rob divulges some more insight on his musical heroes, “I have always been inspired by the way they move & drive a song. This is how I see the role of my bass playing in Ultimatum.”

In discussing his place within the band we moved to toward talking about his contributions to their Into the Pit album. I found lots of headbanging fury within the barrage contained in this release. Rob went on to explain, “My writing credits are musical. I contributed riffs to those songs. I wrote one line of lyrics for ‘Blind Faith’ that's it. I think Robert wrote most of the lyrics for ‘Game Over’ Other than that Scott wrote all the lyrics.”


Cheerily he continued on to discuss his other contributions to that 2007 release. “My favorites are ‘Into the Pit’, I wrote that whole thing on the bass and Robert played lead over it. There is no rhythm guitar on that one. It's all 4 & 8 string bass, some keys, drums and lead. The spoken thing at the end is actually taken from The Exorcist movie, "It's an excellent day for an exorcism.”


‘Death wish’ I wrote the bulk of that one. ‘Heart of Metal’ is the first song I ever wrote with Ultimatum.” As an aside I’d say that song has become a full on anthem for Ultimatum and Rob show his musical chops on that one.

He continues, “I wrote ‘Exonerate’ which I think is a great thrasher!” With much enthusiasm he adds, "Game Over" I think this one is a peek at what is to come. "

Even as I write this story Ultimatum has been working diligently on new material that from what I understand is simply another leap in a positive direction. Most of us are anxiously waiting with baited breath. As glasses of our favorite thirst quenchers are brought to us (i.e. soda, water, iced tea…) Rob shares with me how he came to be in involved with Ultimatum.

After taking a big swig of water Rob continues, “I became a fan of Ultimatum in 2000, through Mortification. I went and saw them at the Stryper Expo in California in 2001. Not long after that I saw on their website that they were looking for a bassist so I contacted Robert and set up an audition. They offered me the job and I moved to New Mexico in 2002. Here we are 8 yrs. later and still going stronger than ever. I played in a couple of local bands in California in the early '80's and various little project things over the years.” As an addendum Rob adds, “No they did not have a Christian perspective.”



Over the course of the last eight years Whitlock has continued to serve his band mates well, his stability and musical chops continually allow the band to develop and grow as musicians and songwriters not to mention his chops live which provide the drive that moves the Ultimatum machine along.

As the course of our conversation moved to a little more philosophical ground, regarding the purpose and mission of Ultimatum, Rob had these thoughts, "The purpose of Ultimatum, to me, is to play heavy metal the way we want to play it. No compromises. Everyone should be able to express what they believe through their art. Just because its heavy metal doesn't mean it has to be all evil and bleak. It's about freedom to be who are, the way you are.”


The point of being able to express oneself is an important one. Usually what is disguised as expression is simply one’s way of self promotion or what a manager believes is in the artists’ best interest. That, itself, seems to defeat the purpose of expressing what is in the heart of artist. The refreshing content Ultimatum provides is in sharp contrast to the clichéd metal message of hate, death and destruction. With courage and passion these guys from New Mexico deliver music that should be respected and appreciated, with lyrical content that is from their heart.

As all three of us finished our various forms of liquid refreshment Rob add in closing, “Yes, we are writing new material and I am very excited about it. The new stuff is going to be the best yet.”

With that both Scott and Rob added, “We just want to thank everyone that has helped and supported Ultimatum. You can be sure that we will continue to deliver the metal the way we always have.”

With those closing words we brought this interview to a close. Here’s hoping you enjoyed this brief discussion as much as we did...
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Wednesday, June 2, 2010

KING JAMES - THE FALL


After much hoopla, spewing out melodic metal anthems for White Cross, Rex Carroll left the aforementioned band and helped to create King James. The first King James album (self titled) featured former members of Stryper (Robert Sweet and Tim Gaines respectively) along with vocalist Jimi Bennett and the aforementioned Carroll. Stylistically it continued along in the same melodic rock vein as their previous projects, it had been backed by Star Song.

However, this 2nd album entitled The Fall was released on the Swedish label Viva back in 1997. The Fall is a product of the late 90’s and the fascination with the ‘grunge’ metal type sound of that era. You won’t find any Rattesque or Stryper stylings as on the previous release, but you will discover an energized Alice in Chains persona that totally uproots any connection to the previous material in style of writing.

The compositions are delivered with solid, heavy, production; that offer superior definition and sharp tones throughout. The instrumentation is well spaced apart without losing any attack. Bennett delivers an excellent vocal performance which matches the stylistic change well, most notably on the track ‘Never is Forever.’ Listening to it immediately makes one think of Alice and Chains, without screaming ‘rip off.’

For the most part, re-mastering has breathed new life into this release. J Powell at Steinhaus continues to perform his magic which allows so many older releases a new lease on life. The tandem that Retroactive has with Steinhaus studios continues to hit homeruns and this album is no different.

The most enduring item here that carries over from previous releases featuring Rex is his guitar tone and well executed guitar solos. His soloing here is prominent but not to the detriment of the songs. ‘Frenzy’ is one that just jumps out at me as does ‘Spreading the Love.’ His tone is intense and gripping but not overly compressed or thin.

The songs here are strong, memorable and heavy. It is with great appreciation that I salute Retroactive for this re-release, re-master. If you appreciate the style that is ‘grunge’ with a more positive lyrical outlook don’t cheat yourself and pick this album up and play it loudly. The mesmerizing content will convince you that you made the right decision.

8 axes
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Thursday, May 27, 2010

PASTOR BRAD - BREAK OUT !


Break Out! is the title of Pastor Brad’s debut album for Roxx Records. Pastor Brad if you are not aware has been putting out 80’s inspired hard rock/metal since 2003. Lyrically very bold in content there is no doubt as to where his heart and his mission lies. His music is very much ministry oriented material with a desire to reach the non-believers with the message of forgiveness through the gospel of Jesus Christ.

Pastor Brad also runs a website entitled GuitarJams.Net where you can learn guitar theory/licks ECT; as well as devotional material for one’s spiritual walk. Brad’s sincerity and passion are evident immediately. With that no one can find any fault because it’s obviously apparent this isn’t about glorifying Brad.

With that said I was really looking forward to hearing this release from Roxx Records. With a guest list of special vocalists such as Ski from Faith Factor, Ken Tamplin of Shout fame, Chaz Bond courtesy of Jacob’s Dream, Les Carlson from Bloodgood and David Meriwether of Stricken I was anxious to spin this one.

The first thing that struck me was the production factor; it feels much more like a demo then a label release. The clarity is disappointing as the drums are buried in the mix with little definition. You know they’re there, but from the twin guitar passages and vocals the drums are sacrificed. At times it feels as if this was recorded on a four track machine, (I don’t know how it was recorded, but through my experience this is the feel I’m left with) and in this era of computer recordings even an analog recording will sound better.

Vocally aside from the songs sung by the special guests mentioned above, it seems that things fall into disarray more often than not. What really got my attention was the title song, once Rachel Anne started to sing a harmony part was added that sounds horribly out of key. Whether it’s actually out of key or the harmony is just muddied from the mix that could be open for debate, yet it left me feeling like I was listening to Stryken’s debut, yuck. This same unfortunate thing occurs on the song ‘Gethsemane.’

On several occasions the vocal melodies seem to get cluttered with too many words, so as to disrupt the melodic flow of certain vocal passages. Prime historical examples of this were Rez Bands songs Autograph and White Noise or Barnabas tune ‘Northern Lights, Brad on many occasions uses a break down in a song to provide a spoken vocal passage that just seems out of place. This arrangement occurs on the first two songs ‘Break Out’ and ‘In Your Lovin Arms.’ Please understand this isn’t a criticism of what is said, but a critique of the performance given.

The songs that are the strongest include the trifecta of ‘Turn up the Light’ with Ken Tamplin, ‘Cold Blooded Killer’ featuring Ski and ‘We Win’ which includes the vocal talents of Chaz Bond. The melodies and vocal performances stand head and shoulders above the rest of the album. The closing song with David Meriwether of Stricken on vocals shines as he executes with a powerful metal flair.

Pastor Brad is a talented guitar player and has the ability to write some good material; again there is no doubting the heart of the man or his passion. Yet on this release I found the production and at times the performances to be substandard with a few gems amidst the many compositions penned for this album. If you’re already a fan of Pastor Brad you’ll probably still pick this up, but if not I just can’t give a good recommendation this time.

5 axes
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Thursday, May 20, 2010

MORTIFICATION - XX YEARS IN THE UNDERGROUND


It's really difficult to believe that Mortification has been around for 20 years. Yet that is the case and as such, Nuclear Blast wanted to make sure that we were all aware and have provided a double disc to commemorate the occasion.

The Mort fan is treated to five re-recorded classics and disc one, “Nocturnal,” “Grind Planetarium,” “Impulsation,” “Hammer of God,” and “The Majestic Infiltration of Order.” All of the new recordings are strong and powerful. The guitars provided by Mick Jelinic are saturated with energy and heaviness; drums provided by Adam Zaffarese deliver the driving punch they’re supposed to. Steve sounds great just slightly more mature and raunchy vocally. His bass soaring like it should.

“Grind Planetarium” and “Hammer of God” enjoy the greatest benefit from these newly re-recorded tracks.

Disc two offers us the Live Planetarium album, which has been out of print for quite a while. It’s not clear if any re-mastering was done as no credit was given. Not owning a copy of the original I can’t really compare, but to have it here is a great touch.

The other material on discs one and two represent a collection of live material taken from the many different stages along the journey of Mortification. From their first concert in 1990 to 2007’s Nordic Fest appearance, a wide swath of performances are presented. Yet the actual audio quality at times is a little suspect. Most of these performances are true bootleg quality. The clarity at times is a little disappointing, but I also remember in my tape trading days I would’ve salivated all over stuff like this. It’s raw, imperfect, and for that reason alone these are for the collector who must have everything.

The performances presented range from Mexico City 2004, New Zealand 1996, Australia 1990 & 1995, and Norway 2007. There is also an acoustic performance from Dutch radio in 2001. How do you do acoustic Mortification? Just listen to this, unique and different.

It should probably be remembered that the underground has not been known for perfection. So this retrospective does have an underground feel. A great booklet is also included, 28 pages of photos and a great retrospective by Steve is presented here. It would've been great if there had been some live color photos. Maybe a journalistic point of view could have been included as well.

I found for the most part, this double disc set to be quite enjoyable, however I would say if I already owned the Live Planetarium album, this album could be passed over. Maybe some live video clips or studio video material could've been included as well. XX Years in the Underground is what this compilation is entitled. The underground is where Mort has shined all these years here’s to hoping that Mort still has more music to give. Any Mort posters?

7 axes
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GRAVE FORSAKEN - FIGHT TO THE DEATH


Thrash metal loud and heavy is what Grave Forsaken delivers on their latest album ‘Fight to the Death.’ Grave Forsaken continue to offer their style of Bay Area Thrash and on this release it seems to me that the recipe is even better than on their previous stab at musical whimsy.

Make no mistake that the guitar is what propels this machine and we can hear it right from the first. It seems to me that a more mature and driven fellowship has emerged within the Grave Forsaken camp. Before this release there was some good solid music being produced, yet on ‘Fight tot the Death’ it feels invigorated and re-energized.

The first single and video entitled ‘War is Hell’ is prime example; depth of performance has improved along with the production values. It seems readily apparent that the vocals of Vaughn Gregory are more biting and intense. His attitude is one of absolute urgency and the delivery shows. The vocal effect at the end of the ‘War is Hell’ is genius as far as I’m concerned. All of the vocal melodies are not just mimicking the rhythm of the guitars but have taken a life of their own, which in turn opens the way for memorable songs.

“Fight to the Death,” “Black Sunday,” also give evidence of an improved style of songwriting that elevates Grave Forsaken into the realm of contenders. “Destruction Comes” barrels like a bat outta hell with deadly force. A set opener one must wonder. A powerful chorus and this composition has nailed it.

Lyrically Grave Forsaken has not left their purpose, which is evangelism through music. Taking current events and incorporating a Christian perspective is difficult without coming across as judgmental. These guys are upfront but not a total downer, at least from my perspective.

For me the only actual low point is the song 'Call me a Dreamer.' It feels outta place, a ballad or perhaps the one song that doesn't blow the doors off the hinges. I found it to be a little disappointing amidst all of the other strong performances.

If you gave Vaughn Gregory and company a shot before and were left wanting, give ‘Fight to the Death’ an opportunity. With better musicianship and better songs this flight of fancy moves like a Saturn V rocket that has left the launch pad, you’d better get in or get enveloped in the blast. Make sure you save me a place down front…


8 axes
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Thursday, May 13, 2010

THE REX CARROLL BAND - THAT WAS THEN THIS IS NOW


Say the name Rex Carroll and most fans of melodic pop/metal will remember him for his guitar virtuosity during the late 80’s early 90’s rockers with rockers White Cross. It will be remembered that Rex flashed like Rhodes, DeMaritini and Van Halen as he assailed his fret board with frantic intensity. Many fans will also remember White Cross for their Stephen Pearcy styled vocalizations courtesy of Scott Wenzel. Rex’s affiliations with King James and Steelheart not withstanding.

However the album that has captivated my attention these last many days is the Retroactive release of ‘The Rex Carroll Band.’ With a brilliant mastering job courtesy of J. Powell at Steinhaus, this self titled album takes the listening experience to the bayou’s and back. However with a decidedly Cajun flavor. If you like blues oriented southern fried rock n metal… This album is the one. Hooks galore and plenty of guitar wizardry to keep the air guitar busy and satisfied.

Rex and company provide a superb offering of bluesy guitar oriented rock n roll. This is an album that might be overlooked, especially amidst all of the super heavy stuff and alt rock that seems to be flavor of the moment, however this disc, it seems to me, has the attractiveness of a bright shiny new automobile. Turn the key and hit the gas, this album smokes. 8 bar, 12 bar, smoky back room flavor with lots of feel and vocals courtesy of Rex himself.

Stevie Ray Vaughn and Billy Gibbons would be proud of the guitar oriented material Carroll delivers here. “Working Man Blues,” “Delta Memories,” “Find a Way,” all up beat rockers and of course there has to be a slow bluesy number which ‘Rock my World’ brings. This album reminds us all why blues oriented hard rock is one of the most infectious styles of music around.

The production values are top notch with lots of punch and attack. Good tones across the board with a masterful sound that just deserves to be played loudly. This is not White Cross mark two, not at all, and that I will say is a good thing. The Rex Carroll Band is a decidedly different animal all together.

This is another great album which will see the light of day courtesy of Retroactive Records. Smooth, going down like a sunset along the Mississippi coastline. The Rex Carroll Band has provided a stellar performance which has been introduced to a new generation of fans. Can we all stand up and applaud? I’m standing on my seat.

9 axes
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