On January 16, 1968, "Blue Cheer" released it's debut album "Vincebus Eruptum". Some have defined this album as the first Metal album. Others stated that the band "Blue Cheer" actually invented Heavy Metal. Whether you agree with these definitions or not, you can not ignore the fact that this band has influenced bands like "Led Zeppelin", "Deep Purple", "Black Sabbath" and even "Rush", with the album "Vincebus Eruptum" clearly influencing the development of "Heavy Metal". "Blue Cheer" is an American blues-metal and psychedelic rock band that was formed in San Francisco in 1966. At the time of its formation, the band had six members, but as early as 1967 there were only three left: Leigh Stephens on guitar, Dickie Peterson on bass and vocals, and Paul Whaley on drums. The band's name came from a variation of the LSD drug, that was common at the time the band was formed, in San Francisco. While it is common to think that the roots of Hard Rock and Heavy Metal genres are firmly planted on the other side of the ocean, in England of 1969-1970, these American guys did so even earlier, when in January 1968 they released an album featuring a combination of styles such as: blues, Hard Rock, Garage Rock, Psychedelia, Stoner and Heavy Metal. This is a powerful band - an American power trio that was among the influencers of another power trio - the Canadian "Rush". The members of "Rush" even made a small tribute for "Blue Cheer" when they performed a cover version of the song " Summertime" Blues " in their " Feedback " mini-album from the 2004. This song was originally performed by Eddie Cochran, but the members of "Blue Cheer" gave it their own powerful interpretation. The song reached number 14 on the Billboard 100 and won the band great success, as it also pushed sales of the album which ranked 11th on the Billboard 200 chart. "Spin" magazine ranked the album 22nd on the 40 greatest metal albums of all time. The streaming service "Rhapsody" placed it among the ten biggest "Proto-Metal" albums. For Listening: Spotify This time we prepared for you a YouTube playlist of the album's songs: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On January 16, 1981, a great thing happened in the world of Israeli music, with the release of the debut album of the band "T-Slam" - "Strong Radio". This is a groundbreaking album that puts rock on the map of Israeli music. It has influenced young artists and rock bands, that until then had not dreamed of recording and releasing rock albums in Israel. It's a bit funny to use the phrase "Hard Rock" in the context of this album, but the distortion effect used in some of the songs on the album was somehow "new" in the Israeli musical landscape of those years. It was the closest to Hard Rock we could listen to in Israel at the time. It was also one of the reasons we fell in love with this album, with the band and its members, "at first sight". T-Slam or "Tislam" was formed in 1979 by two friends who served in the IDF: guitarist Yizhar Ashdot, who was the Israeli Army Radio music editor, and keyboardist Yair Nitzani, who was a broadcast technician. The two, who shared their intense love for music and especially Rock and Roll, played and wrote songs together. At one point singer Danny Bassan, who was part of the Air Force entertainment team joined them, and thus came the core of the band. During their service, the three recorded the song "Gimmie rock 'n' roll", a kind of protest song designed to shout the cry of rock music lovers, which unfortunately did not get enough expression in Israel. This recording was done in "Galei Tzahal" studios, without the station commander's knowledge. In 1980, while the band members were only 22 years old, the three recorded demo tapes in English, for songs that would later become part of the band's debut album. During the recordings, Yoshi Sadeh, a guitarist and singer who was a recording technician at the "Triton" Studio, joined the band. The four gave the band the name "T-Slam", as the name of Ashdot and Nitzani production company. The songs on the album were written by the band members with the help of Dori Ben Zeev. They included memorable Israeli rock hits such as: the theme song and the hit "Loud Radio", "Anemones", written by Yoshi Sadeh in English even before he met the band members, "See you Aroud", "Smoking In The Boys Room" (a cover version of a song first performed and recorded in 1973 by "Brownsville Station" and translated here by Kobe Meiden); And of course "Down The Road", which won the title of Song of the Year and excites us today just like 40 years ago, especially in its amazing live version. For the recording of the album, drummer Alon Hillel and bassist Ohad Inger were recruited, as well as other guest musicians such as: Barry Keys, who played the "Hammond" organ, Dave Boroff on saxophone; And Jackie Kelso, Chuck Finley and Jim Horn on brass instruments. The album was recorded in 1981 and at the time considered to be the album with the most expensive production in the Israel. It turned the band and its members into superstars overnight, with an admiration not seen in the country until then and reserved only for bands like "The Beatles" and the like. It was a groundbreaking album that created new standards in the Israeli music of the early 1980s, which over the years became a pure Israeli classic. The album sold about 10,000 copies within two months and about 60,000 copies within six months, a very respectable number on an Israeli scale. Later it also led the band to the title "Band of the Year" also winning "Song of the Year" for the song "Down The Road". It is interesting to note that the album was also released in English and was given the name "Loud Radio", after being recorded in Los Angeles. On the occasion of the album's 40th anniversary celebrations, the band has released a remixed version of the album in its expanded edition - A one that includes 5 bonus tracks of the English song versions. The album cover was also "politicly corrected" to the present day, dressing up the nude model. As you may recall, the original album cover, which is one of the best-known in Israeli music, included a naked girl with her back turned to the camera, while in front of her are the four members dressed in black suits while indifferent to her nude appearance. Now let's listen to an Israeli masterpiece and a true classic: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 15.01.1970 Not once, not twice, have I praised of the city of Detroit and its immense contribution across the entire musical spectrum, but why listen to me at all? Just look at Alice Cooper , an uncompromising glam rock provocateur who moved to the Motor City to form his band. Cooper believed Detroit was the epicenter of a developing subgenre he called “Angry Hard Rock”, and he repeatedly pointed to MC5 (short for “Motor City Five”) as one of the city’s most dominant and extraordinary forces. Cooper said there was nothing like "MC5" anywhere else in the US. Their sound was a blazing mix of hard rock, blues, free jazz, touches of psychedelia, and a remarkably unique tone, topped off with a James Brown–style stage performance. Cooper was far from alone in his admiration. "MC5’s" debut studio album, “Back in the USA”, inspired generations of musicians, among them "The Clash", "Motörhead", "The KLF", and "The White Stripes". Tom Morello went even further, writing that “they basically invented punk rock.” "MC5" were formed in 1963 in Lincoln Park, Michigan, out of two local rock bands, “Vibratones” and “Bounty Hunters”. As some members left for college, the more committed musicians regrouped under the leadership of Wayne Kramer, eventually solidifying a lineup that could already draw enough crowds around Detroit to quit their day jobs and live off the band. Kramer felt the group needed direction and brought in Rob Derminer, a few years older than the rest and deeply immersed in Detroit’s radical political underground. Derminer initially auditioned as a bassist, briefly filling the role in 1964, but it quickly became clear that his real strength was as a frontman. His commanding stage presence and booming baritone voice reflected a deep love of American soul and gospel. He soon renamed himself Rob Tyner, after jazz pianist McCoy Tyner, and stepped fully into the role of vocalist. Management duties eventually fell to Ann Marston, a former national archery champion and beauty queen. The classic "MC5" lineup featured vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson. Tyner also coined the band’s new name, "MC5", a direct nod to their Detroit roots. By 1965, with Davis and Thompson in place, the band had fully stabilized. Musically, "MC5" reflected Kramer and Smith’s growing obsession with free jazz. Both guitarists drew inspiration from Albert Ayler, Archie Shepp, Sun Ra, and late-period John Coltrane, as well as from Sonny Sharrock, one of the few electric guitarists working in a free-jazz context. The result was a raw, fused style unlike anything heard before in rock music. Playing almost nightly across Detroit and its surroundings, "MC5" quickly earned a reputation for ferocious live performances. Rock writer Robert Bixby described their sound as “a catastrophic force of nature barely under the band’s control.” Fans likened the aftermath of an "MC5" show to a delirious exhaustion similar to that following “a street fight or an orgy.” Their stage shows were confrontational and theatrical, sometimes involving unloaded rifles and simulated assassinations, while LSD and marijuana were part of the band’s daily reality. By the summer of 1968, "MC5" had become leaders of the emerging hard rock scene, mentoring local bands such as The Stooges and The Up. Major labels began circling. Politically, the band was heavily influenced by Black Panther ideology, activist Fred Hampton, Beat poets like Allen Ginsberg and Ed Sanders, and modernist thinkers such as Charles Olson. Under the guidance of radical poet and activist John Sinclair, "MC5" became deeply involved in leftist politics. National attention arrived with their debut album, "Kick Out the Jams", recorded live in October 1968 and released in January 1969. The album caused immediate controversy, most famously due to the shouted line “Kick out the jams, motherfuckers!” A public backlash, combined with a highly publicized dispute involving Detroit retailer "Hudson’s" and "Elektra" Records, ultimately led to "MC5" being dropped by the label and signing with "Atlantic". Their second album, “Back in the USA”, produced by John Landau, later known as Bruce Springsteen ’s mentor, was a radical departure. Instead of raw live chaos, Landau pushed the band toward tightly structured, fast, and furious rock and roll, effectively laying down a blueprint for punk rock. The production was cleaner, the songs shorter, and the energy more focused. Apart from Tyner’s unmistakable voice, the band was almost unrecognizable compared to “Kick Out the Jams”. The album embraced youthful themes with tracks like "High School"  and "Teenage Lust" , alongside covers of Chuck Berry and Little Richard, yet it never abandoned "MC5’s" rebellious core. Songs such as "American Ruse" , "Human Being Lawnmower" , and "Call Me Animal"  carried a sharper political edge, rooted in the band’s firsthand experiences at events like the 1968 Democratic National Convention protests against the Vietnam War. "American Ruse"  stands as one of MC5’s defining moments, using tight, relentless rock and roll as a weapon against what the band saw as deception and hypocrisy within the U.S. government. It remains a powerful example of how “Back in the USA” balanced raw teenage energy with militant political awareness, securing its place as one of the most important proto-punk albums ever recorded. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He may be known to you as the guitarist of "Tool", but he is much more than that. He's an animator, he's a sculptor, he's a costume designer, a set and special effects designer, and also a make-up artist. (Photo: artofit.org) Here are some interesting facts about Adam Jones, who is ranked 9th on "Guitar World" magazine's list of the 100 greatest guitarists in Metal: 1. He was born in Park Ridge, Illinois on January 15, 1965, to Adam Thomas Jones. 2. At an early age he started playing the violin and even excelled at it and was accepted into the Suzuki program for gifted musicians. 3. Other hobbies he had as a child were animation and sculpture. 4. In high school he had already moved on to play the contrabass and was accepted as the bass player of the school choirת which played mainly classical music. 5. At the same time he played bass in the band "Electric Sheep" which he formed together with his friend Tom Morello , who played the guitar and would later become one of the founders of "Rage Against the Machine". Morello's mother was Jones' high school teacher. 6. Despite his high musical skills, Adam has never taken guitar lessons and learned to play by ear. 7. After high school, Adam received a scholarship to study film, but he chose to move to Los Angeles and in 1983 began studying artistic make-up at an academy in Hollywood. 8. Later he became interested in sculpting characters and designing special effects for movies. 9. Upon graduation he began working as costume designer, make-up and effects designer on the set of several famous films such as: "Jurassic Park", "A Nightmare on Elm Street 4 and 5", "Terminator 2", "Demon Mowers 2", "Dancing with wolves" and more. 10. He met singer Maynard James Keenan in Los Angeles in the late 1980s. 11. In 1990 they formed "Tool" together with bassist Paul D'Amour, who was later replaced by Justin Chancellor, and with drummer Danny Carey whom Tom Morello introduced to them. 12. At this point Adam had to choose between a Hollywood career and a musical one, he made a good choice. Adam and Maynard will become the one who influence Tool's musical direction and its music videos. 13. In 1992, Adam, Maynard , and Tool released their first mini-album (Opiate), and soon after that they went on a tour with "Fishbone" and "Rage Against the Machine". 14. In 1993 they released their debut album " Undertow " which was a huge success. 15. In 1996 the band released their second album "Ænima". The album reached sales of a gold album within 10 weeks and won best metal performance in 1998. (Photo: Fact Magazine) 16. After the release of "Ænima" the band found themselves in a legal battle with their record company. The legal proceedings led the band to take time off. 17. After a 5-year hiatus, "Tool" released their third album "Lateralus". The album jumped straight to number one on the Billboard 200, was a huge success, and received rave reviews from critics. 18. In 2006, "Tool" released their fourth album " 10,000 Days ". This album also jumped straight to number one on the Billboard 200, right in the first week of its release. 19. In 2019, after 13 years of hiatus, "Tool" released their fifth and excellent album "Fear Inoculum". It was the band's third consecutive album to reach number one on the Billboard charts. 20. Adam is a good friend of Buzz Osborne, guitarist, and singer of "Melvins". He appeared as the band's guest musician on the 2002 album "Hostile Ambient Takeover". 21. Jones uses his cinematic experience to produce clips for Tool songs such as: "Sober", "Prison Sex", "Stinkfist", "Ænema", "Schism", "Parabola" and more. 22. He also helped design the costumes and stage of the band "Green Jellÿ". 23. Jones is known for his heavy playing and often uses drop D tuning on his guitar. He is also known for having a unique sound, thanks in part to the increased use of Flanger and Daley effects. 24. Adam is ranked 75th on "Rolling Stone" magazine's list of the 100 greatest guitarists of all time. 25. He is also ranked ninth on "Guitar World" magazine's list of the greatest guitarists in Metal. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Here are some key facts about Geoff Tate best know as the leas singer for "Queensrÿche": (Photo: Louwdwire) = He was born in January 14, 1959 in Stuttgart, West Germany as Jeffrey Wayne Tate, before moving to Tacoma, Washington, USA. = Tate begins singing in local bands in Washington during the 70s, including "Myth" and "Babylon". = In 1981 he joined a project that will become "Queensrÿche", initially known as "The Mob", with Chris DeGarmo, Michael Wilton, Eddie Jackson, and Scott Rockenfield. = In 1983 "Queensrÿche" releases their debut " Queensrÿche EP " featuring Tate's distinctive operatic vocals. = In 1984 The band releases "The Warning", their first full-length album, showcasing Tate's theatrical vocal range and lyrical themes of dystopia and rebellion. = In 1986 "Queensrÿche" releases " Rage for Order ", with Tate contributing to the band's shift towards a more progressive, experimental sound. = The same year Tate was part of the the charity project " Hear 'n Aid " which included a collaboration of 40 Hard Rock and Metal artists. = In 1988 he released " Operation: Mindcrime ", with "Queensrÿche". This concept album becomes a critical and commercial success., with Tate's storytelling and vocal performances receive wide acclaim. = In 1990 "Queensrÿche" releases " Empire ", featuring the hit single "Silent Lucidity." The album goes multi-platinum, and Tate’s vocals become iconic in rock music. = In 1991 the band receives a Grammy nomination for "Silent Lucidity," and Tate's performance at the MTV Unplugged session is praised. = In 1994 "Queensrÿche" releases "Promised Land", which "Guitar World" ranked at number 23 in their "Superunknown: 50 Iconic Albums That Defined 1994. = In 1997 "Hear in the Now Frontier" is released, marking a departure from "Queensrÿche’s" classic sound. = In 2001 "Queensrÿche" releases "Q2K", with Tate leading the band through a challenging period following Chris DeGarmo’s departure. = In 2002 Tate releases his first solo album, "Geoff Tate", which features a more diverse and experimental sound compared to "Queensrÿche’s" work. = "Queensrÿche" released their eighth studio album "Tribe" In 2003. Tate called former lead guitarist Chris DeGarmo to see if he could contribut songs to the album. After a meeting with Geoff Tate, DeGarmo agreed and took part in the writing sessions. = In 2006 "Queensrÿche" releases "Operation: Mindcrime II", with Tate reprising the character of Nikki from the original concept album. = In 2007 the band release "Take Cover" a cover versions album, including songs originaly by "Pink Floyd", "Black Sabbath", "Queen", "U2", Peter Gabriel and more. = In 2009 the band released their eleventh studio album " American Soldier ". it was a concept album with Tate daughter Emily singing a duet with him on the song "Home Again". = In 2011 Tate released his last album with "Queensrÿche" - "Dedicated to Chaos". It was the first album where he also played saxophone. = In 2012 Tate is fired from "Queensrÿche", leading to a legal battle over the band’s name and legacy. = The same year he releases his second studio album "Kings & Thieves". = In 2013 Tate forms his own version of "Queensrÿche" and releases "Frequency Unknown" under that name. The same year the original "Queensrÿche" released the album "Queensrÿche" with Todd La Torre as lead singer. = In 2014 a settlement is reached, with Tate losing the rights to the "Queensrÿche" name but retaining the rights to perform " Operation: Mindcrime " material. = In 2015 Tate forms a new band, "Operation: Mindcrime", and releases "The Key", the first in a trilogy of concept albums. = In 2016 "Operation: Mindcrime" releases the second album in the trilogy, "Resurrection". = In 2017 The trilogy concludes with the release of "The New Reality". = In 2019 Tate formed "Sweet Oblivion", which released their debut album "Sweet Oblivion" the same year. = In 2021 "Sweet Oblivion" released their second album "Relentless". = In June 2022 Tate had an open heart operation in Germany. = In 2023 Geoff Tate releases his autobiography "Sweet Oblivion: The Journey of a Singer and Storyteller". "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On January 14, 1984 "Metallica" experienced a significant event that would influence the writing of the song "Fade to Black". The inspiration behind "Metallica’s" classic ballad " Fade to Black " from the " Ride The Lightning " album was largely influenced by a devastating gear theft incident that occurred early in the band’s career. In January 1984, while "Metallica" was preparing to embark on their European tour supporting "Venom", the band’s equipment was stolen from their rented U-Haul trailer outside a venue in Boston, Massachusetts. The stolen gear included James Hetfield ’s prized Marshall amplifier, a cherished piece of equipment that he had been using since the early days of the band. This amp had a unique tone that became a core part of "Metallica's" sound. Losing it was a huge emotional blow for Hetfield, who felt a deep connection to the gear that had shaped his musical identity. More than that, Lars Ulrich ’s drum kit was also taken, along with Kirk Hammett 's guitars and other essential gear. The theft left the band scrambling to figure out how they would continue their European tour with "Venom", which was set to begin just a few days later. Lars, who had been a driving force in organizing the tour, took the theft personally, as it jeopardized their momentum at a crucial time in their career. He later described the incident as “a soul-crushing moment” for the band. The loss of their gear — including instruments they couldn't easily replace — was a financial and emotional disaster for the young band, who were still struggling to make ends meet. Despite the setback, Lars and the rest of the band refused to cancel the tour. They borrowed gear from "Anthrax", who were close friends of the band at the time, and managed to push through the tour, even though they weren’t playing with their own equipment. The emotional toll of the theft hit Hetfield hard. He described feeling a sense of hopelessness and loss, emotions that he channeled into the writing of " Fade to Black ." The song, with its dark themes of despair and contemplation of death, reflects the melancholy and frustration he experienced after the incident. “Fade to Black” became the band’s first ballad, breaking new ground in metal by blending emotional depth with powerful riffs. "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On January 14, 1977 David Bowie Released his eleventh studio album "Low". "Low" stands as one of David Bowie 's most innovative and influential works. It marked a turning point in his career, demonstrating his willingness to take risks and push the boundaries of popular music. It was the first of three collaborations with producer Tony Visconti and musician Brian Eno that became known as "the Berlin Trilogy". The record showcases a dramatic shift in Bowie's musical direction, blending experimental sounds with a deeply introspective lyrical approach. "Low" originated following David Bowie 's move to France in 1976 with his friend Iggy Pop . Seeking to rid themselves of their drug addictions, the two artists found a creative refuge. During this period, Bowie produced and co-wrote Pop's debut studio album, "The Idiot", which featured sounds Bowie would explore further on his next record. Bowie and Iggy Pop mixed "The Idiot" at Hansa Studios in West Berlin. They fell in love with the city, seeing it as a perfect place for a fresh start, and decided to move there in an effort to break free from their destructive drug habits and escape the pressures of fame. In Berlin, Bowie sought to reinvent himself, drawing inspiration from the city's burgeoning avant-garde music scene and its stark, divided landscape. "Low" reflects this transformation, both thematically and musically and was heavily influenced by German bands such as "Tangerine Dream", "Neu!", "Harmonia", and "Kraftwerk". It marks Bowie's first foray into electronic and ambient styles. "Low" is divided into two distinct halves: Side A : A collection of fragmented, angular songs with cryptic lyrics and a heavy reliance on synthesizers and effects, such as "Breaking Glass"   with it's funky, distorted bassline and "Sound and Vision"  with its upbeat, driving rhythm. Side B : A suite of largely instrumental tracks that evoke a sense of desolation and introspection, heavily influenced by ambient music, such as "Warszawa" co-written with Brian Eno, inspired by Bowie's visit to Warsaw that captures a bleak, atmospheric mood with its minimalist structure and choral-style synth lines, and "Subterraneans"  that features somber saxophone lines and ghostly vocal textures. This dichotomy between the two sides was groundbreaking at the time and challenged the conventional rock album format. The production on Low was revolutionary for its time. Tony Visconti's use of the Harmonizer, particularly on the drums, created a distinctive sound that became a hallmark of the album. Brian Eno's influence is also evident, particularly on Side Two, have been widely praised for their experimental nature. His ambient influence can be heard in the atmospheric soundscapes that dominate tracks like "Warszawa" and "Art Decade." These pieces would go on to shape the sound of ambient and electronic music for decades. Upon its release, "Low" received mixed reviews. Some critics were baffled by its avant-garde approach, while others hailed it as a bold artistic statement. Over time, its reputation has grown significantly, and it is now considered one of Bowie's most important works. The album's influence can be seen in a wide range of genres, from post-punk to electronic music, such as "Joy Division", "Depeche Mode", "The Cure", "Nine Inch Nails", "Radiohead" and more. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

He's a singer, he's a guitarist, he's a Viking whose favorite ax is "Gibson Les Paul Custom." (Photo: Fanart.TV) Here are some facts about Zakk Wylde: 1. He was born to parents of Irish descent, in New Jersey USA, on January 14, 1967. The name given to him at birth was Jeffrey Phillip Wielandt. 2. He started playing guitar already at the age of 8, but he took the matter seriously only a few years later. His parents said he would play from the moment he returned from school continuously sometimes even until the next morning. 3. At the age of 14 he started working in the music store "Silvertone-Music". There, he became acquainted with Heavy Metal. It gave him the motivation to continue practicing and mastering the guitar. 4. Zakk was initially influenced by guitarists like Jimmy Page , Eric Clapton , Angus Young , Eddie Van Halen , Jimi Hendrix , Stevie Ray Vaughan and Randy Rhoads . 5. The first band he played in was called "Stone Henge" and later he joined the band "Zyris". 6. In 1987, he joined Ozzy Osbourne 's backing band. After the dismissal of guitarist Jake E. Lee , Zakk's a demo tape was rolled out to Ozzy's hands and he invited him to a successful audition. 7. The first album that Zakk co-wrote as part of Ozzy Osbourne 's band was " No Rest for the Wicked ", which was released in 1988. Beyond playing the guitar Zakk co-wrote all the songs. 8. Zakk continued to be an integral part of Ozzy Osbourne 's band until 1995, when he was temporarily replaced by Joe Holmes, until his return to the band in 2001, to take part in the album " Down to Earth ". During this time Zakk was part of the creation of the masterpiece album " No More Tears ". (Photo: Joseph Okpako) 9. In 1991 he founded the side project "Pride & Glory", in which he also served as a singer. The band released its debut album in 1994. 10. In 1995 Zakk auditioned for "Guns N 'Roses" and even played for a week alongside Axl Rose , but eventually decided not to move on with the band. 11. In 1996 Zakk started his solo career with an album called "Book of Shadows". In 2016 he will release the sequel "Book of Shadows II". 12. In 1998, Zakk formed the "Black Label Society", in which he served as lead singer and lead guitarist. That same year, the band's debut album called "Sonic Brew" was released. Zakk will release 11 more studio albums as part of the band, the most recent of which is "Doom Crew Inc." From 2021. 13. In 2000 he lost his guitar known as "The Grail", after falling from a truck carrying the band's equipment. He posted ads in which he begged for the return of the guitar to him. In 2003 he reunited with his guitar, after a fan purchased it at a neighborhood store in Dallas. The fan received one of Wylde's custom guitars in return. 14. In 2001 Zakk played the role of guitarist in the movie "Rock Star", starring Mark Wahlberg. 15. In 2005 he released the album "Mafia" together with "BLS", which includes a song he wrote in honor of his good friend Dimebag Darrell . The song "In This River" included a very moving clip featuring the characters of Dimebag and Zakk as children. 16. In 2006 Zakk was honored by the Hollywood Rock Walk of Fame in recognition of his work with Ozzy Osbourne and for his contribution to the music industry. 17. That same year, Wylde participated in the Ozzfest Festival, both as Ozzy Osbourne 's guitarist and with his band "Black Label Society". 18. In 2010 Zakk played a small role in the movie "Bones", alongside Jimmy Bennett. 19. In 2011 he was a guest actor on one episode of the masterpiece series "Californication". 20. That same year he was a guest on the mini-album "Rebels" by the band "Black Veil Brides". 21. In 2014 he formed the cover band "Zakk Sabbath" playing songs of "Black Sabbath". (Photo: Fanart.TV) 22. He's part of the "Generation Axe" supergroup alongside great guitarists like Steve Vai , Nuno Bettencourt, Yngwie Malmsteen and more. 23. In 2012 he gave his boy the name Sabbath Page, as a tribute to the musicians who influenced him. This was not the first tribute. He has another son named Hendrix. 24. In 2022 he joined the reunion of "Pantera" and stepped into the big shoes of his good friend Dimebag Darrell . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On January 14, 1980, "Rush" released their seventh album, "Permanent Waves". This is one of the Power Trio's greatest albums that was their entry ticket to the 1980s. It can be said that on this album "Rush" made its biggest change. From " Hemispheres "' Progressive, epic, and bombastic Heavy Rock to more compact, accessible, and radio-friendly songs. This is actually the first of two albums that will symbolize the band's transition from the Prog era to the Electronic era, just like a bridge supported by two pillars connecting two different river banks. It is not that the band has not changed in the past and will also change its musical styles in the future, but in other cases, the change was more gradual and not as sharp as it was in this case. Take " The Spirit of the Radio " or " Freewill " on the one hand for example and put them next to " Cygnus X-1 Book 2 " or " La Villa Strangiato " on the other. We are sure you will understand what we mean. But the change that "Rush" brought with this album was not only reflected in the length of the songs. On this album, the band began to have fun with other genres such as Reggae, a style that they will continue to explore in the next three albums. In addition, this album also has a change in Geddy Lee 's vocals whose singing tone has been lowered so that it does not sound too shrill. The changes in these three parameters were undoubtedly goal-oriented. The desire to allow the band to sound more accessible, "lighter" and more radio-friendly. A forward-looking album designed to ensure the band's survival in the Progressive arid desert of the '80s. True, the album includes 2 tracks that are over 7 minutes, but these are not the epic works that characterized the previous albums, nor did they open the album but were pushed back to the end of each side of the vinyl in order to make the short and friendly songs stand out. At the end of the tour that accompanied the " Hemispheres " album, in the middle of 1979, the band decided to take a short break of six weeks before starting work on the new album. Neil Peart said it was the first break the band had taken since he joined it four years earlier. After the short vacation they took, the band members met in July 1979 at a cottage located on a farm north of Toronto, to write and rehearse for the album's recording. Most of the material was written in about two weeks. The songs were written more or less in the order they appear on the album, except for the song "Natural Science" which Neil Peart wrote during the recordings. Despite the decision to go for a "lighter" and more radio-friendly material, Peart offered Geddy and Alex a song called "Sir Gawain and the Green Knight" which was intended to be an epic piece. This song was discarded after it did not match the rest of the material on the album. In September 1979, the band entered the studio "Le Studio" in Quebec to record the album. During the recordings, Neil Peart wrote the three parts epic " Natural Science ". Geddy and Alex wrote the music for it using excerpts from the song "Gawain and the Green Knight", which was discarded. The album opens up with " The Spirit of the Radio ", which combines several musical styles and includes several rhythm changes. This is the first song in which "Rush" experiences the Reggae genre, which they will also embrace in her next albums. It should be remembered that at that time Reggae was fused with punk in the UK, with bands such as "The Clash" and "Police" incorporating the genre into their music. "Rush" was probably also influenced by this. The lyrics were written by Neil Peart as a tribute "..to all that was good about radio, celebrating my appreciation of magical moments I'd had since childhood, of hearing 'the right song at the right time," Peart said in one of his interviews. The song includes a reference to a line from the song "Sound Of Silence" by Simon & Garfunkel. It opens with Alex Lifeson 's incredible guitar work. Many thought it was a "guitar tapping" but it's just a fast Alex Lifeson playing. Neil Peart 's drumming at the song opening is simply divine! Beautiful transitions that are synchronized like a Swiss watch with Geddy Lee 's bass, and all this is only a preparation for what comes next, because, in the bridge starting at 3:35, he is already syncing with Alex's guitar line which is just insane. This song is listed (and rightly so) on the list of the 500 songs that shaped rock of "The Rock's Hall of Fame" and it is one of 5 such songs of "Rush" in that honorable list. This song got heavy rotation on radio stations in England and the US and led to the band's great exposure to a new audience. It is interesting to note, that it was this song and not " Tom Sawyer " that succeeded more on the British charts. Another interesting fact, is that in this song features Erwig Chuapchuaduah (?), playing the Steel Drum and this is probably an inside joke of the 3 band members. The second track " Freewill " is another song that entered a radio broadcast on both sides of the ocean. A song with clever and philosophical lyrics by Neil Peart about freedom of choice and freedom of will. Although this song sounds like a simple rock songת compared to the band's previous work, it's not like that at all. There is a lot of rhythm change in this song and it sits on completely unconventional time signatures that are changed throughout the song, among them: 6/4, 7/4, 6/4, 7/4, 6/4, 8/4. Alex Lifeson 's solo is among the most beautiful and challenging on the album. Although the album attempts to keep Geddy Lee 's voice on the low side of the range, he does not hold back and rises to new heights reserved only for singers of virtue, in the last verse of the song. This song was very popular and a fan favorite at the band's performances. The third track that seals the first side of the vinyl, is the epic " Jacob's Ladder " - a song that was influenced by the story of Jacob's dream from the Bible. Neil Peart saw in his vision rain clouds through which the strong rays of the sun penetrated. He thought of Jacob's Ladder which in fact constitutes the gate to heaven with angels ascending and descending on it. Musically, the first part of the song opens with a kind of dark marsh rhythm that develops up to the "New Age" instrumental section and repeats itself. This song has not been played in the band's live shows since 1981, until the last "R40" tour during which the band performed it for the first time after about three decades. In the book "Rush: Album by Album" Metallica's guitarist Kirk Hammett notes, that one of the riffs in the song "The Thing That Should Not Be" is taken from "Jacob's Ladder". In this case, too, the song can mislead listeners and sound relatively simple to play, but super drummer Mike Portnoy noted that it is one of the most difficult "Rush" songs to play. Who are we to argue? The translation of the song title that opens the other side of the album " Entre Nous " from French, is "Between Us". These pair of words in English are repeated during the chorus of the song, which speaks of feelings and interpersonal relationships. The words "Entre Nous" appear in the book by the writer Ayn Rand from 1943, called " The Fountainhead ", and as is well known Neil Peart was influenced by this writer quite a bit. Musician and singer Billy Corgan of the band "The Smashing Pumpkins" told in the documentary "Time Stand Still" from 2016, about an exciting encounter with his mother in the basement of their home when he was 16. Corgan was at that time an emotionally and socially closed child and he asked his mother to listen to the song with him. He gave her the lyrics in the hope that she would understand how he felt. It is interesting to note that the song was not performed in "Rush's" live shows, except in part of the tour to promote the album " Snakes & Arrows " from 2007, as recorded and documented live only on the album " Snakes & Arrows Live ". The lyrics to the second song on the other side of the vinyl - " Different Strings ", were written by Geddy Lee . This is the last song the band wrote in which Neil Peart did not get credit for writing the lyrics. The song teaches us that each of us sees life differently and invites us to choose the words we use carefully. In terms of melody and performance, this is a ballad for all intents and purposes, quite unusual in Rush's catalog. The song that seals the album is the mini-epic in three parts " Natural Science ", which shows us remnants of the progressive "Rush" of the late seventies. It is a dynamic work that begins quietly but develops with rhythm change, fast transitions, and an amazing solo by Alex Lifeson . As mentioned above, parts of the unfinished work "Sir Gawain and the Green Knight" found their way into this mini-epic song. The song encourages us to appreciate and preserve nature, especially in an age of technology and when humanity is fast advancing. In this case, too, it is a song with quite a few rhythm changes and odd time signatures that range from the basic 4/4 to the unconventional 7/8, 6/8. The sounds of the water heard at the beginning of the song were recorded on one of the lakes in Ontario. Assistant producer Terry Brown drove there, hit the paddle on the water, and recorded the sounds. The album cover was designed by Hugh Syme who is responsible for designing the covers of all the band's albums, starting with the third album. The cover features Canadian model Paula Turnbull, against the backdrop of ruins created by a huge wave in a way that corresponds with the name of the album. Model Paula Turnbull will also appear on the cover of the 1981 live album " Exit... Stage Left ". In 2020 an expanded edition of the album was released to mark its 40th anniversary. The edition includes 12 live recordings from the tour that accompanied the album. Read more about the expanded version here: Permanent Waves 40th Anniversary . The album "Permanent Waves" won many accolades after its release. It managed to expose the band to a wider audience, who got to know it through the songs on the album, some of which were more accessible and friendly, which allowed their rotation on the various radio stations. This album is considered to this day as the band's highest charting albumin the American chart. With "Permanent Waves", "Rush" opened the 1980s with a storm and it will become the first in a series of albums that will give the band the huge global and commercial success they rightfully disserve. For Listening: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 13.01.1984 This is a story that should be taught in every moment of despair. When things are hard, when nothing seems to work, when everything around you feels grey and the goals you set for yourself seem further away than ever, think about Chrissie Hynde . Chrissie Hynde is a songwriter, a musician and above all a fighter who never gives up until she reaches her goals. A founding member of "The Pretenders", she stood at the center of the band’s third album, "Learning to Crawl", released on January 13, 1984. Hynde was born in September 1951 in Akron, Ohio. She later described her school years as a complete waste of time. “I was never too interested in high school... I mean, I never went to a dance, I never went out on a date, I never went steady ” she recalled. From a very young age, she was drawn to live shows and bands.“I used to go to Cleveland just to see any band.” From an early age, Hynde had a very clear ambition. To form a band, to stand on that side of the stage and perform. The men who fascinated her were Brian Jones and Iggy Pop . Right after high school, she enrolled at the art school of Kent State University. At the same time, she joined her first band together with Mark Mothersbaugh, who would later become a member of "Devo". During her time at Kent State, the tragic event known as the " Ohio Kent State shootings " took place. Later referred to as the Kent State massacre, 29 National Guard members fired approximately 67 bullets in just 13 seconds at students protesting against the American government, its Vietnam War policy, and the expanding involvement in Cambodia. Four students were killed, among them Jeffrey Glenn Miller, whom Chrissie Hynde knew personally. After finishing her studies at Kent, Hynde flew to London. She found work at an architecture firm, but her true goal lay elsewhere. She moved between jobs as a writer for the music magazine "NME", and later as an employee at the clothing shop run by Malcolm McLaren and Vivienne Westwood. After forming another short lived band, Hynde returned to London and tried relentlessly to secure a work visa in the UK. The situation escalated to the point where she nearly entered a fake marriage with Johnny Rotten, with Sid Vicious involved, all in an attempt to obtain that long awaited visa. By 1978, Hynde’s experience playing guitar in various lineups began to show. She became the kind of guitarist any band would want by its side. With renewed confidence, she attempted to form a band with Mick Jones of "The Clash". When that attempt also failed, she recorded a demo and handed it to Dave Hill, owner of the label "Real Records", who immediately recognized her potential and began managing her. Hynde formed a lineup consisting of herself, Pete Farndon on bass, James Honeyman Scott on guitar and keyboards, and Jerry McIlwaine on drums. Not long after, one of her musical heroes and a true embodiment of rock and roll, Lemmy Kilmister of "Motörhead", introduced her to drummer Martin Chambers, who replaced McIlwaine. The band took the name "The Pretenders", inspired by the song "The Great Pretender" by "The Platters". The debut single by "The Pretenders", "Stop Your Sobbing" , a cover of "The Kinks", was released in January 1979. Ten months later, the band achieved major success with their third single "Brass in Pocket" , which topped the charts in the UK, Sweden, Ireland and South Africa, and reached number 14 on the US chart. After two albums that enjoyed considerable success, cracks began to appear. The familiar trap of drugs, which so many musicians fall into, started to take its toll on the band. Everything came to a head in June 1982. Bassist Pete Farndon was fired from the band by Hynde herself due to excessive drug use. He later died as a result of his addiction after drowning. As if that were not enough, just two days later guitarist James Honeyman Scott died in his sleep from heart failure caused by cocaine intolerance. Watching the life’s work she had built fall apart, Hynde refused to give up. She temporarily recruited guitarist Billy Bremner of "Rockpile" and bassist Tony Butler of "Big Country" to record the successful double A side single "Back on the Chain Gang"  and "My City Was Gone" . Hynde, a strong minded and mentally resilient woman, refused to let her spirit break even when the father of her newborn child, Ray Davies, the frontman of "The Kinks", abandoned her. As her daughter began to “learn to crawl” step by step, Hynde taught herself, together with the new lineup of "The Pretenders", featuring Robbie McIntosh and Malcolm Foster, how to slowly create continuity out of nothing. Out of fracture and loss, new life gave her the strength needed to deliver the band’s third and masterful album, "Learning to Crawl". The album bursts open at a frantic pace with "Middle of the Road" . Hynde wrote the song while confronting a midlife crisis and the approach of middle age. The lyrics reflect on the contrast between wealth and poverty, while also revealing autobiographical details, including her age at the time, 33. As the song unfolds, Hynde unleashes one of her most famous wails, closing the track with a stunning harmonica solo. Interestingly, the album itself does not credit anyone for playing that harmonica part. After an opening at a fast pace, the album continues with an equally impressive track, "Back on the Chain Gang" , which opens with a tribute that can be interpreted either as a nod to Ray Davies or as a homage to guitarist James Honeyman Scott, who died unexpectedly following his struggle with drug addiction. The hammer like sounds and the chain gang style chorus draw inspiration from the song "Chain Gang"  by soul singer Sam Cooke from 1960. The album’s momentum continues with "Time the Avenger" , a song that tells the story of a successful businessman with a wife and children who embarks on an affair with a foreign woman. The relationship leads to his personal collapse and the loss of his marriage. He loses his sense of balance and slips into alcohol addiction, which becomes part of the problem. In the end, he leaves his home with nothing but a bag of belongings. The song serves as an indictment of people’s inability to be satisfied with what they have, a flaw that can ultimately leave them losing everything on all fronts. In "Show Me" , Chrissie addresses for the first time her new role as a mother and the love she feels for her young daughter. She wonders whether love can survive and flourish in such a chaotic world, yet she still hopes that it can. On one hand, she expresses her devotion to her child, while at the same time revealing a desire to find love within her own romantic relationship. With "Thumbelina" , Hynde continues to explore themes connected to her daughter and the child’s father. The song takes the form of a country rock story about a mother and daughter traveling across America, with the final line hinting that the mother is leaving her husband. The seventh track on the album, "My City Was Gone" , is the flip side of the single "Back on the Chain Gang"  and was written and recorded in October 1982. The song reflects Hynde’s growing concern with environmental and social issues. When she returns to her childhood home in Ohio, she discovers that the “pretty countryside” of her youth has turned into an ugly city. The lyrics include several specific references to locations in and around Akron. In the United States, the song became known as “the Ohio song”. In "Thin Line Between Love and Hate" , the delicate boundary between love and hatred is crossed. A man returns home at five in the morning after cheating on his wife. She ignores the suspicious hour and simply asks if he is hungry. Almost immediately, however, comes the warning: do not think you can keep breaking your wife’s heart. Indeed, she apparently takes revenge, as he later finds himself wrapped in bandages from head to toe in a hospital. This is the only cover song on the album, originally by the New York band "The Persuaders". On keyboards and backing vocals, one can hear Paul Carrack, known for his work with "Ace", "Squeeze", and "Mike and the Mechanics". The album closes with "Two Thousand (2000) Miles" , whose iconic opening riff was conceived by guitarist Robbie McIntosh. The song went on to become a popular Christmas track in the UK. Its lyrics focus on two lovers in a long distance relationship, missing each other during the Christmas season. As a result, it became a song that is played with especially high frequency during the holiday period. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Moti Kupfer Release date - 13.01.1964 “How many roads must a man walk down before you call him a man?” In May 1963, this authentic cry burst into the world through " Blowin' in the Wind" , a protest song by Bob Dylan  that became the voice of a generation. The song introduced a new kind of revolutionary to the public a revolutionary of words a civil rights activist a white musician and a Jew by origin who refused to accept that there was only one way to see the world. Dylan was perceived as far more than a songwriter. He intuitively understood the anxieties of America’s new young generation the Cuban Missile Crisis the fear of nuclear weapons that could destroy the world and the deep uncertainty about the future. A few months later as Dylan became a central figure in the civil rights movement his protest songs grew sharper in tone. Where earlier his writing approached these issues with tolerance and cautious optimism his third album The Times They Are A-Changin' , released on January 13 1964 presents a far more cynical and sophisticated political worldview. On this album Dylan sings with wit and venom. He is no longer willing to be forgiving toward the forces in the Western world that enable racism and poverty. For a moment Dylan sees himself as a man trying to save America from itself holding up an unflattering mirror that forces the nation to confront reality and change its ways. This third album by Bob Dylan is one of the rare moments in his catalog written primarily for and about other people. These are not his own personal experiences being documented here but the lives and injustices surrounding him. The title track " The Times They Are A-Changin'"  opens the album with a melody driven by motion and urgency aiming to change the world for the better. It serves as a stark and direct introduction to the album’s critical atmosphere. Dylan later recalled writing it as a deliberate attempt to create an anthem of change the sense that times are shifting like generations fading in and out more a feeling than a scientifically proven claim. In " Ballad of Hollis Brown" , Dylan tells a bleak rural story of a South Dakota farmer who murders his starving family and then takes his own life driven by crushing poverty. On the third track " With God on Our Side" , Dylan dissects the role of God in human history moving from the genocide of Native Americans through the American Civil War World War I World War II the Holocaust and even the betrayal of Jesus by Judas Iscariot. Almost everyone has experienced the disappointment of a relationship a breakup or a hope that never fully materialized ending too soon and leaving a bitter aftertaste. Dylan distills that feeling into the 158 seconds of " One Too Many Mornings" . Virginia Minnesota is a small town near Hibbing part of the Mesabi Iron Range once dominated by open pit mining. In 1917 the entire town of Hibbing was moved two kilometers south to allow mining beneath it. During World War I World War II and the Korean War the economy flourished as demand for iron surged. By the mid 1950s however the richest ore deposits were gone and the region collapsed into decline. Dylan born in 1941 was deeply familiar with the trauma this caused even though his own family was not directly affected. Against this backdrop " North Country Blues"  addresses the despair of the mining worker and Dylan clearly identifies with the miner’s suffering. In " Only a Pawn in Their Game" , Dylan portrays poor and powerless white Americans as pawns in the hands of politicians and the wealthy who when it suits them incite the poor white man to murder Black Americans. The song refers directly to the assassination of civil rights activist Medgar Evers. This line continues in " The Lonesome Death of Hattie Carroll" , which recounts the killing of 51 year old barmaid Hattie Carroll by wealthy young William Devereux “Billy” Zantzinger and the shockingly light sentence of six months in jail. The real incident occurred on February 9 1963 at a ball held at the Emerson Hotel in Baltimore Maryland. Dylan’s song strongly implies though never explicitly states that Carroll was Black and Zantzinger white. The song suggests Zantzinger beat Carroll to death with his cane. After Carroll died the following morning Zantzinger was charged with manslaughter but this was reduced after it was revealed that Carroll suffered from hardened arteries an enlarged heart and high blood pressure and likely died from a cerebral hemorrhage caused by the stress of Zantzinger’s verbal and physical abuse rather than the assault itself. In August 1963 Dylan was involved in an incident with a hotel clerk who refused him entry to his room after judging his appearance and suspecting he was unfit. Dylan’s partner at the time singer Joan Baez  intervened and vouched for his character. Dylan later wrote " When the Ship Comes In"  in response also drawing inspiration from "Pirate Jenny" by Bertolt Brecht and Kurt Weill. About three weeks after recording for the album concluded John Fitzgerald Kennedy was assassinated. Dylan was devastated seeing Kennedy as a genuine hope for change. His death felt like a crushing hammer blow to Dylan’s aspirations of reshaping America. Seen from today’s perspective more than six decades after its release “The Times They Are A-Changin’” reveals a political landscape far wider yet far more deceptive than before. Information flows freely yet trust is harder to place. These songs remain a sincere and deeply inspiring act from a Dylan who no longer exists. Fans first truly began listening to what Dylan had to say because of this album. It is a shame that those who shape our daily reality still rarely stop to absorb the messages of old Bob. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Noam Asulin Release Date - 14/1/2022 I write this review with great enthusiasm, compared to the rest of my reviews here, and this is because "Elegy" is, at the moment, my metal album of the year for 2022. This in itself is very surprising to me and you will immediately understand why. "Shadow of Intent" is a Deathcore band coming from Connecticut, USA. It was formed in 2013 as a band that revolves around "Halo" (the popular video game) and its name was even a reference to a ship in the game. The band was formed by Ben Duerr (vocals) and Chris Wiseman (Backing vocals, guitars, and clean vocals.) In charge of bass and background vocals is Andrew Monias and the drums are played by Bryce Butler, who joined the band in 2020. From its inception until today, the band has undergone several lineup changes when, as mentioned, the last change was in the drums position. To date, the band has released four studio albums, all of which were self-released, without any record company support. At the beginning of the review, I mentioned that I was surprised to understand that this is, as of today, my album of the year in metal. The reason is that Deathcore is a genre I usually dislike. It is usually a brutal genre to my ears, with a lot of "mess" in the songs, and for me, it is sometimes difficult to identify a melody or some orderly structure in the music. What sets "Shadow of Intent" apart from other Deathcore bands, for me, especially on the "Elegy" album, is the erupting melody. No more messy songs that make it hard on the ear, but melodic songs that along with the brutality that is characteristic of Deathcore, also convey a structure that is easy to follow and allows the human ear to adapt to it more easily than other bands in the sub-genre. Of course, I'm only speaking on my own behalf and some will say that any Deathcore, melodic or not, is wonderful. The album begins with " Farewell ". Every time I hear this song I mistakenly think it's an intro, but it's a song in itself that starts calmly and after a few seconds attacks the ear in full force. The melody I talked about before, is already clearly heard here. The second track " Saurian King " begins with a guitar solo that very quickly changes into the deep and powerful growls of vocalist Ben Duerr, along with wonderful drumming and keyboards. Lots of keyboards. Throughout the album, the keyboards are very dominant, which in my opinion very much emphasizes, the melodies and the difference from "traditional" Deathcore. Plus, this album also seems to have a progressive influence with pretty complicated guitar work reminiscent of some virtuoso prog bands. The fifth track " Intensified Genocide " is for me the strongest on the album, with a wonderful simple chorus and very dominant keyboards that add a lot to the atmosphere of the song and my desire to sink deep into it, close my eyes and let the music sweep me away. According to Ben Duerr, the song is about Georgia's civil war. The seventh track " Where Millions Have Come to Die " features a collaboration with Phill Bozeman from another Deathcore band called "Whitechapel". The ninth track " Blood in the Sand of Time " also includes a collaboration, this time with Chuck Billy from the thrash band "Testament". The tenth track " Reconquest " is an instrumental piece and I really enjoy it, because it shows that the band members know how to produce interesting instrumental pieces as well. The last three tracks are actually a musical work divided into three parts. The first track " Elegy I: Adapt " shows a slightly different side of vocalist Ben Duerr, with a rough but not yet growling voice. This section is relatively quiet and very progressive. The second part " Elegy II: Devise " returns to the melodic Deathcore and the final track " Elegy III: Overcome " continues the line of its predecessor. The production in my eyes is polished and the mix is ​​very balanced and gives space to all the tools. In conclusion, I think this is a simply wonderful album of the friends from Connecticut. Even more amazing to me is that the band's arsenal has four albums up to date, without any outside support, and still the level remains high. "Shadow of Intent" knows how to produce a melodic Deathcore and knows how to do it wonderfully. I definitely hope they continue to release a lot of albums. If up until now you avoided Deathcore, but are still intrigued and want to give melodic Deathcore a chance, try "Shadow of Intent" and I don't think you'll be sorry. For Listening: Spotify , Apple Music , Deezer "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website