On June 29, 1999, it officially began!! The band, consisting of a group of talented individuals with behavioral disorders and self-destructive tendencies yet brimming with motivation, officially launched. Today marks 23 years since Slipknot released their debut album. Here's how it all began... It all began in the mid-90s in Des Moines, a remote town that serves as the capital of Iowa. At night, after everyone had gone to bed, three individuals—Paul Gray, Shawn Crahan, and Joey Jordison, gathered at the gas station where Joey worked and started making history. These three core members of the band began developing material to create a demo album, aiming to reach audiences through radio stations. Without a recording contract or support from any record company, they took matters into their own hands. They ventured into the "SR Audio" studio in their city to pursue their dreams. Known even then for their intense energy and stage presence at shows, they aimed to capture that talent on the album by recording everything live with analog equipment, avoiding digital interference. The demo cost approximately $40,000, which they funded themselves. After much hard work, dealing with mix issues, and album production, the band's first demo, titled "Mate.Feed.Kill.Repeat," was released in October 1996. The demo album featured Anders Colsefini on vocals, Donnie Steele, Mick Thomson, and Josh Brainard on guitars, Paul Gray on bass, Shawn Crahan on percussion, Joey Jordison on drums, and Craig Jones on electronics. After completing most of the recordings, guitarist Donnie left the band. The band self-distributed the demo and attempted to secure airtime on local radio stations, but without success. No radio station played their songs seriously enough to attract interest from any record label. After the demo album's failure, the members decided to change their approach and brought in singer Corey Taylor to replace Anders, aiming to give the songs a more melodic sound. They returned to the studio to refine their material, creating slightly more melodic and accessible songs. In early 1998, the band recorded their second demo (details about it are scarce), specifically targeting record companies and featuring five songs of entirely new material. One of the standout tracks on the album was "Spit It Out". With the help of the band's manager, Sophia John, they secured the support of producer Ross Robinson (Korn, Limp Bizkit, The Blood Brothers). Ross listened to the album and signed the band to his independent label. Revising their course proved successful, as the band garnered significant attention from record companies. With Ross' assistance, they ultimately secured a seven-album deal with "Roadrunner Records." Notably, the band has released all their albums to date with this label. Armed with a record contract, the ecstatic members relocated to Malibu, California, and began working on their debut album at "Indigo Ranch Studios," produced by Ross Robinson. The recordings were intense and wild. Ross, who quickly recognized the band's unique energy during performances, aimed to capture that in the studio. Like their demo album, everything was recorded in an analog manner, contrasting with the rising use of Pro Tools at the time. Although the drum parts were completed in just three days, the rest of the album took longer to record. During the Christmas break, the members returned to their hometown for a brief rest, but came back to the studio without guitarist Josh Brainard. Josh was replaced by Jim Root and joined by DJ Sid Wilson. Ladies and gentlemen, we are proud to present to you........ Slipknot!! (Photo: Slipknot PR) This album unveiled a hallucinatory and terrifying composition by nine members, all clad in industrial overalls and wearing grotesque masks. The words 'fear' and 'anxiety' come to mind when viewing the album cover. This marked Slipknot's introduction to the world! They gained prominence as the Nu-Metal genre was gaining traction and admiration globally. While other bands were rough, tough, and heavy, none were quite like "Slipknot"! They were the angry, mentally unstable, twisted, and unpredictable siblings of the same genre, representing what was and still is Extreme Metal! With this album, they pushed metal's boundaries to the extreme and redefined "intensity" in the music world. Here are the band members who contributed to this album and launched Slipknot's career: (#8) Corey Taylor – vocals (#7) Mick Thomson – guitars (#6) Shawn "Clown" Crahan – percussion, backing vocals (#5) Craig "133" Jones – samples, media (#4) Jim Root – guitars (#3) Chris Fehn – percussion, backing vocals (#2) Paul Gray – bass, backing vocals (#1) Joey Jordison – drums, mixing (#0) Sid Wilson – turntables This is how it appeared in the year the debut album was released: We encourage you to find a secluded spot, increase the volume, get ready, and click the link: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Limp Bizkit's fifth album "Gold Cobra" was released on June 28, 2011! This is the band's fifth album to arrive after 8 years of hiatus (we know there were EPs and at least two compilation albums), and the first since "Chocolate Starfish and the Hot Dog Flavored Water" with all the original band members. In 2001 Wes Borland left the band and guitarist Mike Smith from the band "Snot" was recruited to record the album "Results May Vary" which was released in 2003. Then... Wes Borland came back... and Fred Durst who was a bored millionaire, decided he wants to release an album. These guys have decided to explode and put out everything they have on this album, Wes' mowing guitars, Fred's "deep" and cutting lyrics, Otto's (not the magazine's) booms, Sam's bass, and the "Lethal" DJ's scratches, they all come to give in, to flip the thatch for you and to dismantle your shape !! As we mentioned several times in our podcasts, despite being an intelligent guy and a talented musician, most of the time Fred's writing is superficial and his sentences are a collection of gibberish words, with no meaning. True, sometimes there is depth and sometimes there are even themes, but most of the time they are there to express Fred's 'appreciation' of a particular person or to describe "love" relationships between people or more correctly species. Let's put it on the table, Limp Bizkit's music is not music for contemplation, deep thoughts or emotions, and enlightenment (although there are some serious meanings from time to time). Their music is mostly to party, make you go wild, take out aggression, and even lose your temper. Break up as much as possible to the sounds of metal and rap and let no one tell you what to do. So give Fred some slack with all regarding lyrics and focus mostly on the music. Indeed, this time too, after 8 years of hiatus they are undoubtedly delivering the goods, giving us a very strong album reminiscent of their first album, and putting out all the aggressions in riffs, scratches, programming, and samples. It sounds like they are back to their youth and completely ignoring the fact that more than 20 years have passed since then. (Photo: Ryan Burchfield) As for the lyrics, do not expect substantial improvement this time either. Fred is probably sure he's a teenage boy who takes out all his frustration and anger through the words of anyone who interacts with him. He's angry about the "Autotuned", he gets off the "Douche Bags" in Beverly Hills "90.2.10", he sends the listeners to "Find Life" on "Get A Life" and urges them to buy "Shotgun" to be prepared for "Shark Attack". Finally, he makes it clear to you unequivocally that if you do not want to go out as a "Loser", then just leave everything and walk away with "Walking Away", because otherwise, he will come, yes the "Gold Cobra" will come and bite you. So “Why Try” ?? Just indulge in rage, power, vent, and aggression, and release the "Killer In You"! Now that you understand the link between the songs, feel free to listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"AC/DC's" ninth album (or tenth if you count the albums released in Australia), "Fly On The Wall" was released on June 28, 1985. This album is considered by many to be one of the weakest albums of this great band. We think a little differently. So true, the year 1985 finds AC/DC in a not-so-simple situation. A new breed of young metal bands like "Ratt", "Motley Crue", "Def Leppard" and "Twisted Sister" dominate the dome and sell millions of albums with the help of MTV, and suddenly AC/DC has to fight for its place at the top. Now add to that the internal problems involved in the departure of Phil Rudd - their regular drummer for a decade and the task of locating the new drummer Simon Wright. Five years earlier the band was at the height of its success with the most perfect comeback album Back In Black, and suddenly after a mediocre "Back to the Roots" album that received mixed reviews ("Flick Of The Switch"), it suddenly had to prove itself again in front of a young generation that grew into glam And the hair metal of the early 1980s. The band is in at a crossroads. They have to choose whether to go with the flow and dedicate themselves to the God of MTV and attract the attention of the new generation of "rockers", or to stay true to themselves and believe they can do it again (after all, they've already died and rose again from ashes). Admit it, you were not prepared for this, but "AC/DC" chose not to choose. They are left standing at the crossroads squinting left and right with no ability to decide where they want to turn. On the one hand, "AC/DC" tries to please the MTV audience and releases a VHS tape that includes five clips of the songs: "Fly on the Wall", "Danger", "Sink the Pink", "Stand Up", "Shake Your Foundations". On the other hand, Angus and Malcolm decide to produce the album themselves in an attempt to recreate the immature and simple sound from their first albums (a fact that will probably hurt the sound of the album a bit). Surprisingly, despite the indecision and perhaps precisely because of it, "AC/DC" released an album that probably saved their career. The band manages to produce (unintentionally) the formula, which on one hand will retain its old and loyal audience, and on the other hand, will attract a younger audience. The VHS tape got airtime on various music shows, especially "Headbangers Ball" and this exposes the band to the MTV generation, but not only. The band receives a surprising offer to be part of the soundtrack to Stephen King's film "Maximum Overdrive". The soundtrack that comes out a year later is called "Who Made Who" and it includes songs from different periods of the band alongside songs from the album "Fly On The Wall", which got a re-production and especially a balance correction and Brian Johnson's increased voice that did not sound good on the original album. The collection of songs in the soundtrack will also include "Who Made Who", a single that will bring the band relative success in the sales charts, but it will mostly give the band greater exposure because it is actually a sort of Greatest Hits album that allows a new audience to know some of the band greatest moments. It turned out that although "Fly On The Wall" is not considered one of the band's major albums, it is the one that probably managed to save them. The rough production of Malcolm Young and Angus Young, the clips released for MTV, and, yes, even the story that made headlines at the time about serial killer Richard Ramirez who was allegedly a fan of the band, left the band deep in consciousness and probably also were the cause for getting the offer to be a part of the Stephen King's new film "Maximum Overdrive" in 1986. So true, when it was released the album "Fly On The Wall" received cold reviews. Even the sales (only a million copies in the United States) indicated that this was not one of the band's highs. At the same time, there are great songs on this album that have managed to overcome production issues and remain relevant for over three decades thereafter. Songs like the theme song, "Shake Your Foundations", "Playing with Girls", "Sink the Pink" and more are an integral part of the endless soundtrack of this great band and will stay with us forever. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Bon Jovi's" sixth album, "These Days", was released on June 27, 1995, so let us tell you 25 facts about it: 1. Two names were considered to serve as the title of the album: "Open All Night" and "Strip", but they were rejected in favor of a title that represented the name of a song from it "These Days". 2. This is the band's first album without bassist Alec John Such. 3. Who replaced him informally in the band was bassist Hugh McDonald. 4. Hugh McDonald's informal membership ended in 2016, after becoming a formal member of the band. 5. The album as a whole tends in a darker direction than the band's previous albums. 6. According to Bon Jovi the album was influenced by the age of grunge and alternative and bands like "Pearl Jam", "Tool" and "Nine Inch Nails". 7. The album was produced by Peter Collins who was chosen by the band following his achievements with bands like "Rush", "Queensrÿche" and Alice Cooper. 8. Recordings of the album began at Bon Jovi's private studio - Sanctuary I, in Woodstock New York. 9. The recordings were stopped in the middle and the band continued to record the album in Los Angeles, due to the fact that near the recording studio the metal band Fear Factory recorded the album "Demanufacture" and the huge noise interfered with the band and the recordings. 10. With its release, the album jumped straight to number one on the UK charts, washing away Michael Jackson's "History" album. 11. Since then the album has been at the top for 4 consecutive weeks. 12. Five successful singles were released from the album that entered the top ten in the charts. 13. This is the highest number of singles to enter the top ten on the UK charts, of all Bon Jovi's albums. 14. The opening song "Hey God" was influenced by a case where Richie Sambora watched from his limo window on a homeless man living inside a cardboard box. He felt guilty, told Jon Bon Jovi about the case and the two wrote the song about it. 15. The theme song "These Days" is the most played song in the band's performances from the album. 16. The song "(It's Hard) Letting You Go" was written by Bon Jovi for the movie "Moonlight and Valentino" in which he also appeared. 17. The song "Diamond Ring" was originally written for the 1988 album "New Jersey". 18. The song "My Guitar Lies Bleeding In My Arms" was written during a session where Jon Bon Jovi experienced a writing barrier, so he leaned on the song "Bed of Roses" as the anchor from which he began writing. 19. The song "Damned" is based on a man's affair with a married woman. 20. Due to the great success in parades and sales in Europe, the album was released a year later in an expanded version called "These Days Special Edition" and included a disc with 8 bonus tracks. 21. The original version of the album included 12 tracks, 6 of which were co-written by Jon Bon Jovi and Richie Sambora, two by Jon Bon Jovi alone, and four in collaboration with Desmond Child. 22. The Japanese version of the album included 2 more songs: "All I Want Is Everything" and "Bitter Wine". 23. Jon Bon Jovi and Richie Sambora wrote about 40 songs for the album, of which only 12 were selected. 24. The album reached number two on "Q" Magazine's 1995 Great charts. 25. He also won "Kerrang" Magazine's Album of the Year. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 27, 1970, a historic and significant event in the history of "Queen" took place. (Photo: Flickr.com) Freddie Bulsara takes the stage for the first time with members of the band "Queen" then called "Smile". The band then included Brian May on guitar, Roger Taylor on drums, Freddie Bulsara (Freddie Mercury) on vocals, and Mike Gross on bass. Gross replaced the band's former bassist/singer Tim Staffell, who left and joined a band called Humpy Bong. This historic show, which took place on June 27, 1970, took place in the town hall of Truro in the county of Cornwall in England, which will later become the Hall For Cornwall. Drummer Roger Taylor was a native of the city of Terror, to which he moved with his family when he was 7 years old. The person who organized the show was Taylor's mother. This was a charity show of the Red Cross held in front of 200 people and the band members earned 50 pounds each for it, a nice amount for the period and circumstances. Taylor's mother placed two ads in the Brighton newspaper to promote the show. Although the ads were still published with the band's name as Smile, just before the show, the band members decided to take the stage with the name Queen after Freddie insisted. The show opens with "Stone Cold Crazy" which 4 years later will be part of the band's third album "Sheer Heart Attack". The rest of the songs on the show were a mix of original material like "Father to Son" which would be released later on the album "Queen II", along with cover versions of Little Richard's songs. Brian May later noted that given the nature of the show they played more cover versions than original material. People in the audience will tell that Freddie's performance was tremendous, he sounds like he's been doing it for years. He had a tremendous stage presence and sheer charisma that swept the band forward. Roger Taylor noted years later that his mother who organized the show was simply shocked by Freddie's performance. He had a tremendous voice and he had not even yet developed at that time his familiar and powerful singing technique. Gross will later be replaced by John Deacon, Freddie Bulsara soon changes his last name to Freddie Mercury and the rest is history. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time on a masterpiece album by an excellent band, but in our opinion not well known and appreciated. On June 27, 1989 "Gretchen Goes to Nebraska", "King's X" second studio album, was released. This is one of the most important albums in its impact on the development of the progressive metal genre. A concept album that tells a short story conceived by the band's drummer Jerry Gaskill. So for those unfamiliar with the band, "King's X" is a power trio from Houston USA, which was founded somewhere in 1979 in Springfield Missouri by bassist and singer Doug Pinnick, drummer Jerry Gaskill and guitarist and singer Ty Tabor. The three called themselves "the Edge" and added rhythm guitarist Dan McCollam who was soon replaced by Kirk Henderson - Tabor's friend. The quartet played in pubs as a cover band that played mostly classic rock songs. In 1983 Henderson leaves the band, and Phoenix, Gaskill, and Tabor decide to continue as a trio. They change the band's name to "Sneak Preview" and release their first album of the same name, back in the same year, self-funded and independently labeled. However, this album fails to arouse interest and the band finds itself without the possibility of releasing another album or funding from a record company. In 1985 the band moved its operations center to Houston in an attempt to connect with the "Star Song" Records record company based in Houston. This attempt was unsuccessful however the band met Sam Taylor who was a member of the board of "ZZ Top" in Houston. Sam soon became the band's director, producer, and mentor, to the point that many see him as the band's fourth member. Sam was the one who convinced the trio to change its name to "King's X" and even pushed them to change their style to more complex and experimental music. With Sam's help, the band managed to sign a contract with "Megaforce Records". (Photo: Soundcloud.com) In 1988, the band released, for the first time, an album under the name "King's X", this was "Out of the Silent Planet", which name was given from a book by the same name by the British writer C. S. Lewis. The album was praised by the fans and music critics, but also by artists who greatly appreciated the original sound and new style that the band brought with it. For example, Rex Brown and Dimebag Darrell from "Pantera" mentioned that this was the sound they were looking for in "Panthera" and that at that time they were listening to this album non-stop. This example illustrates well why later on "King's X" had the name of a band whose fans are artists themselves. On "Gretchen Goes to Nebraska", the band took their all-too-unique sound and style a step further. The combination of the heavy progressive of another power trio - "Rush", together with singing that draws from the harmonies and melodies of "the Beatles", got an extra twist here with the addition of new instruments such as sitar, dulcimer, and flutes. The musical style also evolved and received further diversity, with a combination of psychedelic motifs, hard rock, and gospel mixed with progressive. Lyrically, the album revolves around religion and Christianity, which will later lead to the band's cataloging under the genre of "Christian Rock", a move that will probably affect its future and undermine its publicity and success. For example, "Over My Head" is a song in which the gospel and church atmosphere is well evident. The song was written by Pinnick five years before it was recorded for the album. He recorded it on a cassette in his home studio and when the band went over materials for the album he came across it. He was very surprised that his bandmates really liked it. The lyrics were influenced by Pinnick's grandmother who brought the music to his life. Pinnick is ​​an African-American and his grandmother exposed him as a child to gospel singing in church and at home. Pinnick noted that the structure of the song is influenced by the song "Let Love Rule" by Lenny Kravitz. He believed that Kravitz's song has "The Beatles" vibe, it's being built and evolving, but precisely when it comes to the chorus there is a kind of a drop. He noted that this was the first time he had heard an anti-climax chant that still managed to do the job. In the song "Pleiades" the band confronts the injustices that can be done in the name of religion and specifically the burning of Giordano Bruno, a 16th-century Italian philosopher, mathematician, and cosmologist who was burned just because of his views. Criticism from another direction can be heard in the song "Mission", which refers to the brainwashing that preachers pass on to television viewers in the name of Christianity. It is interesting to note that the album's mesmerizing opening song - "Out of the Silent Planet" is identical to the name of the band's previous album, thus creating a kind of continuity between the two albums. The title of the song and album came from the title of the book by the British author C. S. Lewis, which bears the same name and is the first part of his science fiction trilogy. Well, the name of another song on the album - "The Difference (In the Garden of St. Anne's-on-the-Hill)" is taken from a chapter in the third book in the same trilogy called - "That Hideous Strength". The album also features "Summerland", a kind of ballad with a catchy, melodic, and sweeping arpeggio chord sequence, "Fall on Me" with the amazing vocal harmonies, "Don't Believe It" with Gaskil's excellent percussion work, and Tabor's innovative guitar sound, Which sounded in the solo as Dimebag Darrell's guitar would sound a few years later, and of course the amazing "The Burning Down" that seals the album and brings us back to the same atmosphere in the song that opened it. This album is probably the pinnacle of the band's work. A masterpiece that contributed greatly to the development of the prog-metal genre, and forms a connecting thread between "Rush's" prog albums from the 1970s and "Dream Theater's" works in the 1990s. An album with a unique sound and style that is a must for fans of the genre. And now all you have left to do is to listen: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Legendary bassist Chris Squire was one of the founders of the progressive rock band "Yes", and was known for his dynamic and aggressive playing. He used the bass guitar as a solo instrument as opposed to an accompaniment instrument that is part of the rhythm section. (Photo: Richard E. Aaron) Let's tell you 20 important facts about him: 1. He was born on 4 March 1948 in north-west London as Christopher Russell Edward Squire. 2. His initial involvement in music began when he was a child, when he sang in the local church choir. 3. When he was 16 he was suspended from school due to the fact that he grew long hair. The school administration gave him money for a haircut, but he took the money and did not get a haircut, since he has not returned to school. 4. The inspiration to be a musician he got from "the Beatles". 5. During the 1960s Squire was "a friend" of the drug LSD. In one of the cases in which he took the drug, he was hospitalized and recovery lasted several more months. During that time Squire practiced playing his bass guitar, developing his all-too-unique style that influenced many after him. 6. His first band was "the Selfs". It was formed in the early 1960s and played rhythm and blues music. 7. In 1965 he formed another band - "the Syn", a band that operated until 1967 and one of its highlights was the warm up of "The Jimi Hendrix Experience". 8. This band reunited with Squire during the 2000s and released two albums with him - "Original Syn" from 2004 and "Syndestructible" from 2005. 9. He formed the band "Yes" together with the singer Jon Anderson in 1968. 10. They added Peter Banks, Bill Broford and Tony Kay and released their first album in 1969. 11. Squire is the only member of the band to have played on all 21 of their studio albums. 12. He also played an essential and important part in creating the band's melodies and vocal harmonies. 13. Squire began his solo career in 1975 with the excellent album "Fish Out of Water". 14. This album as well as the song "The Fish Schindleria Praematurus" from "Fregile" (1971), earned Squire the nickname "Fish". 15. In 1981, Squire joined the "XYZ" project that included "Led Zeppelin's" Jimmy Page, Squire and Alan White drummer of "Yes". The band recorded several demos, but in the end the project did not last due to the fact that Robert Plant refused to join it. Two of Yes' songs "Mind Drive" and "Can You Imagine?" Born while working on the project. 16. Squire was the one who connected Trevor Rabin to the reunion of the Yes band which started as the band "Cinema" and eventually released the album "90125". 17. Squire has collaborations with a number of artists, the most significant of which is with Steve Hackett - guitarist of "Genesis" who has been featured on some of his albums. Squire's latest recording with the Hackett was released as part of the act's 2015 album - "Wolflight". 18. The two also released in 2012 the amazing album "A Life Within a Day" under the name "Squackett". 19. On May 19, 2015, "Yes" issued a notice stating that Squire was diagnosed with leukemia cancer. On June 27, 2015, Squire passed away at the age of 67. 20. Squire's very unique style of playing, inspired many good bass players and even significantly influenced the way this instrument was perceived by musicians. Among the artists that Squire influenced in his playing are Geddy Lee, Billy Sheehan, Steve Di Giorgio, Steve Harris, Les Claypool, John Myung, Robert DeLeo, John Deacon and more ... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

How much we love this album ... "Queensrÿche's" "Rage for Order", released on June 27, 1986. This is the band's second studio album, which was released before the move to prog-metal and before the big breakthrough that will come two years later, with the concept album "Operation: Mindcrime". This is probably also the reason why fans tend to skip it. We are here to tell you that this is a great album that does not have even one unnecessary moment, and that for us it is even at the same level as the masterpiece that will come two years later. This album is very different from the rest of the band's repertoire and that is also its uniqueness. This album has a "New Wave" production, a bit "Dark", which is expressed, among other things, in echo and reverb, in transferring the sound of the drums and guitars through effects and bringing the keyboards forward in the mix. It has a dark atmosphere, and we do not know why, but when we listen to it we immediately run through our minds images from science fiction movies about futuristic dystopian worlds. It is possible that the band members' picture on the inner cover looks like taken from a science fiction movie. What undoubtedly contributes to the feeling that this is a complete work that accompanies a story that can be used as a soundtrack to a futuristic film, is the fact that many of the album's songs connect in a cross fade in a way that gives the listener the feeling of listening to a concept album. An excellent example of understanding how different this album is from the rest of the band's mighty catalog, we should note that the band even did a cover here for singer Dabello - a Canadian pop artist who released "Gonna Get Close to You". Not only did the band members choose to perform a cover version of the song, but they even chose to release it as the first single from the album. Anyone who listens to the band's excellent cover and great performance will immediately understand what we mean, the keyboards, the bold bass, the twisted drum sound, the vocals, the guitars, and the effects, all of which are not entirely reminiscent of a metal band but a New Wave or post-punk band from the 1980s. The band has even released a 12-inch version of this song with a long remix, which amplifies the electronics and effects, just like a New Wave band. As we said, this album does not sound like anything else this band has released during its almost 40 years of activity, but it's good, it's great, it's awesome and we really like it. Starting with the opening track "Walk in the Shadows" we are embarking on a journey forward in time, because as we said this album can serve as the perfect soundtrack for a film about a futuristic world. This song with the rhythmic and dominant guitar riff, Geoff Tate's blatant screams, and vocal harmonies a-la "Queen", was written by guitarist Chris DeGarmo in collaboration with Tate and Wilton, inspired by vampire movies and books, including "Vampire Chronicles". Immediately after that comes "I Dream in Infrared" written by Tate and the second guitarist Michael Wilton. The song opens calmly with Eddie Jackson's bass beats and the guitar's broken chords, evolving into a mesmerizing and dynamic piece that ranges from rough riffs to soft, clean acoustics, and from Geoff Tate's screams of pain to his caressing, delicate voice. The song definitely demonstrates Tate's vocal abilities and his tremendous vocal range. The guitar solo in this song is played by Michael Wilton who also wrote it. This song received an acoustic and interesting remix version in the expanded edition of the album released in 1991. The third track "The Whisper" connects to the fade-out of the previous song and opens with the East-style doubled guitar sentences by Chris DeGarmo and Michael Wilton. After the short intro, the song just explodes with a bouncy and catchy rhythm and with a catchy and sweeping riff. Tate's singing is skyrocketing, how high it reaches in the transition to the chorus. Just an amazing voice control. We skip "Gonna Get Close to You" which we referred to above, and move on to "The Killing Words", the first pure ballad on this album. And again the amazing combination of the acoustics and the electric, the keyboards, and the effects, the melodic and quiet vocals, and Tate's whistling screams, all of these just blow our minds. And what a melodic and beautiful solo Chris DeGarmo gives here that shows how much emotion he has in his playing. The song that seals the first side of the vinyl "Surgical Strike" and was written by the two guitarists, is also one of the fastest on the album. Amazing guitar work combined with Scott Rockenfield's thunderous and rolling drums that also lead the houses. In the transition sections, we double the rhythm that only gets louder during Michael Wilton's amazing solo, with the effects combined during it only intensifying the enjoyment from it. The other side of the vinyl opens up with "Neue Regel" and a synth sound that reminds us of the synthesized guitar sound that opens the song "Out in the Cold" by "Judas Priest" from the album "Turbo". The title "Neue Regel" means "New Rule" or "New Order" in free translation from German. This song is replete with squeaky guitars, weird sounds, and amazing effects that just make it a monstrous piece. These effects dominate all the instruments and even the voice of Geoff Tate who sang the whole first verse through a kind of megaphone, until the break at 1:45 with the shout "Now!" It is also one of the most beautiful passages in the song that we can hear over and over again. We highly recommend that you put on a headphone and listen to this song at high volume, to the climax end in the roar of Tate and the effects that come after it, just sheer pleasure that sounds with relevant and up-to-date production and amazing sound even today over thirty years later. "Chemical Youth (We Are Rebellion)" was born as a result of another collaboration between Tate and Wilton. How beautiful the guitar work is here, without a doubt one of the best on the album, which at times reminds us of the playing of Akira Takasaki from the band "Loudness". "London" is probably one of the reasons that make us feel that this album is a soundtrack to a futuristic film. When we listen to the dark keyboards that open the song, the guitars that pop up in Fade In, and the synthesized bass sound that gives the rhythm to the song, we can not help but imagine London in a futuristic world, under ashes and post-nuclear war ruins. Although the lyrics of the song do not place this song in time (except for the date of November 4th), we have no doubt that DeGarmo, Tate & Wilington who wrote it aimed for the futuristic London. "Screaming in Digital" connects again in cross-fade with the previous song, and again it opens with futuristic effects that blend well with the digital name of the song written in an analog age. What a sweeping rhythm with Scott Rockenfield's double bass drum and what a beautiful combination of the "carpet" of keyboards and guitars in the solo, and Tate's voice and the background voices of the other members that create an amazing vocal celebration here. The song ends with an explosion with Tate's scream and the silence that follows connects to the silence of the next song which is without a doubt one of the pearls on the album. The ballad "I Will Remember" that seals the album, is one of the most beautiful songs on it. The short electric guitar line accompanied by the acoustic at the opening of the song reminded us a bit of the "scorpions" (and maybe also Tate's whistle at the end of the first chorus). How much emotion is conveyed through Tate's singing, how much talent in de Garmo's amazing playing, who also wrote the song. It is interesting to note that during the recordings of the album the band recorded another song - "Prophecy", which was released as a side note to the first single "Gonna Get Close to You". The band also worked on demos of two more songs "From the Darkside" and "The Dream", which remained on the editing table. The band also wrote during the recordings the theme song "Rage for Order" which did not enter the album. The music from the song eventually rolled into the song "Anarchy-X" from the album "Operation: Mindcrime" which came out two years later. Before concluding we will note that the album cover "Rage for Order" is the first to display the band's logo that will accompany it down the road. And now let's listen to the album but only with a headset and at high volume: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

We also have no idea about the identity of the murderer or who "Agantha" is, why on earth did this band not continue beyond one album, and how is it related to "Mashina's" "Monsters of Glory" album??? Therefore, we will attempt to provide some information about one of the albums that contributed to Israeli rock in the 90s and became a significant mile stone. Similar to many Israeli (and international) bands from the 1990s, the members of "Hat Bearers" ("Nosei Hamigbaat") were a unique mix. Their music was not mainstream or overly commercial (though some may label it as "pop"), and through their one and only album released in June 1991, we gain insight into this band that briefly enjoyed success in 1991. There are key and intriguing details that are essential to comprehend the album's narrative. An important and intriguing personality is Kobi Or, who was not only a journalist, poet, and publisher, but primarily a rock philosopher. This title intrigued us, and perhaps one day we will see it in Wikipedia under "rock philosophers." Let's not forget the essence of this story... Kobe gained significant recognition in the realm of alternative music. At the age of 31, he initiated the production of an independent publication named "Khamor," commonly known as a "fanzine," which delved into the topics of music and literature. Kobe was responsible for writing, editing, and even physically printing the issues. The publication, "Hard," was not released on a regular schedule but was distributed for free in select record stores. The initial ten editions, spanning from 1979 to 1983, are highly regarded as valuable collectibles. Yoav Kutner was the first to highlight Kobe's exceptional writing skills, leading to increased visibility for him. Kobe's writing style was known for its abstract and associative nature, with a focus on quotes and references related to religion, death, history, and philosophy. His work left a lasting impact on a whole generation of artists and critics, such as Yossi Babeliky, Boaz Cohen, Ehad Fishoff, Gilad Kahane, and numerous others. If you didn't catch the name mentioned in the previous sentence, you might be wondering, with all due respect, and there is respect (at least we hope so), what is the connection to the coverage? But before we delve into that, let's share another interesting fact... In 1984, the Charles A. Smith High School of Arts was founded in the community center of the Mosrara neighborhood in Jerusalem. At its inception, the school had around 90 students and offered three art majors. It resided in the Mosrara neighborhood for approximately three years before expanding and relocating near the bell garden in the city. In the inaugural class of this small artistic school in Jerusalem in 1984, Ehad Fishoff, Alon Cohen, and Yashi Ader were students. At just 14 years old, the trio formed "Kobi Or's Cap Themes" (yes, the same Kobi Or mentioned in the third paragraph). They performed together during breaks, with Ahed as the vocalist and guitarist, Alon on drums, and Yshi Ader on keyboard. A year later, Tamir Albert joined the band as the lead guitarist and an additional vocalist, prompting the group to change its name to "Nosei Hamigbaat". (Photo: Moti Rozitsky) From the same school, everyone dropped out except for Yishai Adar, and the band held their rehearsals at Pishoff's parents' house in Motsah Ilit. Fischoff, Cohen, and Adar moved in together in Jerusalem and would travel to Tel Aviv weekly to explore record stores and draw inspiration from new music for their evolving work. Initially, the band mainly performed in Jerusalem at the "Pargod" theater and the "Amadeus" club in Zion Square (known as "the underground club"). They were known for their unconventional music, creative performances, and avant-garde style. Fishoff recalls, "At our first show, we adorned the stage with toilet paper and rag dolls featuring a large penis. People thought we were crazy, but fortunately, our audience, mostly friends, embraced and enthusiastically supported our wild ideas." During those early days, the band received a boost on the radio from Yossi Kassif, a renowned radio host, who featured them on his show "Kut Other" on the C channel. In 1987, Tel Aviv producer-promoter Moti Shahrabani took over managing the band and arranging performances for them beyond Jerusalem. Their shows were titled "Live in Beit Shemesh," and they independently produced a demo tape under the same name, featuring cover versions. Shahrabani described the band's performances as captivating, mentioning, "Ahad had an electrifying charisma, Albert would sometimes perform in his underwear, and he'd even play wild solos with just two strings. It was a magical experience that defied explanation." In 1988, the band members gathered at Hezi Davidian's home studio in Tel Aviv. Hezi, a member of the band "Maatz" who acted as a mentor to them, produced their recording "The Cassette," which was later released under the label "The Third Ear." This "cassette", which became a rare cult item, sold approximately 1,500 copies and featured the tracks "Voice of Another God," "Visit to the Mountain," and "Nosei Hamigbaat." "Tired," written by Amir Zeidner, a friend of Pishof's elite background, was also included. Sadly, Amir lost his life in a tank due to a roadside bomb explosion in southern Lebanon in 1988. The song "Visit to the Mountain" was dedicated to his memory. The band's concert tour during that period was named "Don't worry about the government." (Photo: Eran Bendhaim) As you are aware, the early 90s marked a significant golden era for Israeli rock, not only in the US but also in Israel. A wave of new young bands emerged, each with their unique style, some gaining mainstream success while others carved out their own niche. Acts such as "Avtipus", "Dr. Kasper's Rabbit Show", "Eyfo Hayeled?", "Zikney Tsfat", "Taarovet Ascot", "Hayehudim", "Rockfour", and many others rose to prominence during this period. It is gratifying to see this young band finally receiving the recognition it deserves... Simultaneously, the band also had gigs in Tel Aviv, primarily at the renowned "Penguin" club. During one of their performances, Shlomi Bracha from the "Mashina" band was present. He was struck by the fact that what he witnessed and heard was unlike anything he had encountered in Israel, leaving him impressed. Recognizing their potential, Bracha took it upon himself to introduce the band to the record company Hed Artzi for the production of an album. However, this process was not swift. It took a year of relentless efforts from Shlomi and Moti, along with arduous negotiations, before the young underground group finally signed with the prominent label of that era, "Hed Artzi" – known for representing various rock bands. Concurrently, in the same year, Yishai Ader departed from the band due to military enlistment, leading to Adam Horowitz taking over on bass and later welcoming guitarist Ram Orion into the group. Later on, the band members will admit that their decision to sign with "Hed Artzi" was a major misstep, ultimately leading to the disbandment of the group. Upon signing with the major label, the band embarks on the creation of their debut album, with Shlomi Bracha taking on the role of music producer. Shlomi, who hails directly from "Mashina's" record, had just released the successful album "Mortality Research Association" in the same year. The collaboration on the album was a two-way process, with Shlomi working to shape the unique material of the young band into refined songs that could be performed, while the band members introduced him to an unpolished, raw, and distinctive sound unlike anything he had encountered before. Shlomi acknowledged that working with the band members broadened his musical horizons, inspiring him to explore a variety of genres. This experience ultimately led to the creation of the "Glory Monsters" album, a departure from his previous work on mortality studies but perfectly aligned with the musical trends of the time. It wasn't a straightforward process; in fact, it could be described as a continuous nightmare!! In January 1991, amidst Saddam Hussein's threats to destroy Israel, the band, with Shlomi Bracha as their music producer and support from a major Israeli label, began working on their debut album at the Hamon recording studio in Ramat Gan. According to a fan in an interview, the studio experience was dreadful. The band members were described as loud and opinionated, with Tamir noting that Jacob Moreno, the technician, was not accustomed to their working style and was not fully supportive of their artistic direction, causing frequent tension that Shlomi had to manage. The band members felt a lack of creative harmony, constant conflict, and a sense of losing control over their artistry. Despite the chaos, the album was completed in just two days. The band had prepared their materials beforehand and spent most of the studio time, around three-and-a-half hours per song, in heated discussions with Shlomi and Moreno, who aimed for a grandiose sound while the band insisted on maintaining their original style. Indeed, the debut album "Who Killed Agnetha Falskog" was released on June 27, 1991. Agnetha Plaskov is a play on the name "Anita Platskog", who is the renowned Swedish singer from the band "ABBA", the most successful Swedish pop band ever. The album features revamped versions of the band's old songs that had been previously released on tapes (such as "Live in Beit Shemesh" and "Holiday Gift"), along with new songs. Most of the album's tracks were penned by Ehad Fishoff, with "Boom and Trouble" and "Fiction" written by Adam Horowitz, and "Am I a political text?" co-written by Ehad Fishoff and Ruti Ashouri. The music was a collaborative effort among all band members. Prior to the album's release, four singles were put out: "Next in line is a horse", a new version of "Live in Beit Shemesh" (also included on the cassette), "Ish, Kupa and Masha's", and a new version of "Am I a political text?". Subsequently, four more singles were released ("Bristles", "Boom and Trouble", "Holiday Gift", and "Fiction"). The album spawned several hits, including "Next in line is a horse", "I am a political text", "Holiday Gift", and "In the direction of the stubble", leading the band to embark on a nationwide concert tour, culminating with a performance on the main stage at the "Arad Festival" in the summer of 1991. Despite the successful tour and significant radio airplay, the album did not achieve commercial success and was even deemed a failure. While other emerging bands were selling tens of thousands of copies, Flaskog managed to sell only five thousand. The album eventually gained recognition and became a milestone in Israeli rock only in the early 2000s when it attained gold album status. The beginning of the end had already started... By the end of 1991, as the band members began working on their next album, disagreements arose among them regarding the musical direction. What had made their sound and lyrics unique and special also led to their breakup. Each band member brought their own unconventional ideas, but this time they struggled to blend them together. Fishoff revealed in an interview that this disharmony was at the core of the band: "The whole story was discordant, with a perpetual lack of understanding and communication, always dissonant and conflicting." Muti suggested that success was their downfall, as egos clashed and hindered their collaboration: "Everyone was talented, but the pursuit of fame, coupled with egos, blinded them." The band's final performance took place at the "Liquid" club in Tel Aviv on November 22, 1991. Following the split, the band divided into two factions: the first group named "Next in Line is Nothing" consisted of Pishoff, Ram Orion, and Vichy Ader (who rejoined the group). They performed a series of farewell shows under this name, offering electronic-industrial renditions of the band's songs. Pishoff and Orion remained part of the band "Hefa and Telefiim," committing to releasing an album every six years according to their self-imposed "code." The other faction retained the original band name and collaborated with Zvika Pick on a "comeback" album. They embarked on a successful concert tour with Pick, known as "Zvika Pick and the Hat Bearers," lasting about a year and a half. The tour featured the addition of the drummer from "Dorlaks Sadlaks" and Inbal Perlmutter. During this period, the band members re-recorded some of their songs with Pick, releasing three tracks as radio singles, including the popular "Living with Him" and the "Frecha Song." (Photo: Yitzhak Elharar) The album "Nosei Hamigbaat" was released in 1996 by Moti Shahrabani, who faced financial difficulties after the band's breakup. It featured songs from various periods of the band, many of which were previously only available on tapes. While three songs from the album were also included in "Who Killed Agatha Falskog," they were presented in a different version. Additionally, seven songs were selected from the "cassette". The first two tracks of the album, along with "New Material," were recorded during the band's final concert tour in 1992. The song "Radio" was captured live at "Roxanne" in August 1991. On December 26, 2013, the original band members reunited to celebrate the reissue of their first "cassette" on the Anova label in digital format. In December 2015, the "cassette" was officially released as a vinyl record with the band's authorization, after an unauthorized release prompted a public warning against purchasing it. In 2018, Albert and Orion, joined by other musicians, embarked on a special tour commemorating the 30th anniversary of the "cassette's" release. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Not every day do we tell you about a meteoric connection between two great artists, from two different generations and both ends of the musical spectrum. It is also rare for such a connection, until it already happens, to be fruitful and give birth to a full album, a double single, and even a joint tour. This is the story of the album "Mirror Ball", Neil Young's 21st studio album released on June 27, 1995, in which members of the Pearl Jam band collaborated with Neil Young. Our story begins in 1993, when "Pearl Jam" was in the midst of touring the "Vs.". During that time "Pearl Jam" also served as Neil Young's opening act in his shows. "Pearl Jam" members' admiration for Neil Young was well known. It’s no secret that bands in the grunge scene have been influenced and adored by him, but it turns out that this admiration was mutual. Neil Young known as the "Godfather of Grunge" used to bring "Pearl Jam" members on stage during the encores to perform the song "Rockin' in the Free World" with him. It worked so well that it was clear to everyone that this mutual admiration would eventually yield a joint creation, but it did not work out with the busy schedule of both parties. Eventually, a narrow window of opportunity opened up for the artists in early 1995 and they decided to make the most of it. Eleven days after performing with "Pearl Jam" members in a charity show in Washington, Neil Young flew to Seattle and settled in the famous recording studio "Bad Animals", where albums such as "Soundgarden's" "Superunknown", "Mad Season" "Above" and "Vitalogy" of "Pearl Jam" were recorded. The recordings were held for only four days, at the end of January 1995 and the beginning of February. Young wrote all the songs during those four days of recordings except the two "Act of Love" and "Song X". All of the songs on the album were written by Young except for "Peace and Love" co-written with Eddie Vedder, so this is actually Young's album with "Pearl Jam" which serves as his backing band, similar to "Crazy Horse". At the same time, it is impossible to ignore the fact that the members of the band "Pearl Jam" were the ones who were responsible for the sound, the musical style, and the general atmosphere of the album, and thus contributed quite a bit to the result. The album was recorded almost entirely live and without special production tricks. The sound is very immature and rough, with quite a bit of guitar feedback and friends' talk before and after the songs, really a sense of performance and not of an album. Eddie was almost absent from all the recordings because at the time he was under the surveillance of a serial harasser, and hardly left his home. During the sessions for recording, two more songs were written by Eddie, who did not find their way to the album: "I Got Id" and "Long Road". These songs eventually came out as a "Pearl Jam" double single of the season called "Merkin Ball", which was also released in 1995. The reason these two songs were not included in the album is probably because it is Neil Young's album and not a joint work, hence the separation between the songs was a commitment to reality. However, just as "Pearl Jam" served as Young's backing band on the album, Neil Young returns a favor here and accompanies "Pearl Jam" on both of these songs, so all 13 songs from the album and the double single can be treated as one piece. After the release of the album, Neil Young and Pearl Jam (minus Eddie Vedder and plus album producer Brendan O'Brien who played keyboards) went on a short tour in Europe. During that tour, we were privileged to see them here in Israel, at the "Sultan's Pool", and in Caesarea. We were there in Jerusalem that hot summer night, a day after the horrific attack on Line 26 in Jerusalem, and after a really unrelated warm-up show by Ronit Shachar. We have witnessed this special connection between two generations, the veteran in the plaid shirt and the young men in Bermuda shorts, sharing one stage in the name of music. By the way, this special connection continued even after the tour, as the partnership with Young influenced Pearl Jam's sound later on. Parts of this can already be found on the band's next album "No Code" which was released in 1996. Listen to the songs "Red Mosquito" and "Smile" for example and you will hear in them the clear effects of Young, especially in playing the harmonica in the last song. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 26, 2007, "Pierce The Veil" released their debut album, "A Flair for the Dramatic", through Equal Vision Records. But the story of this album begins long before the first note was recorded... It starts in San Diego, California, where brothers Vic Fuentes and Mike Fuentes began crafting music long before they had a name or a direction. The two had grown up in a musical household, Vic had studied graphic design at San Diego State, Mike was a powerhouse on drums even as a teenager, and together they formed the nucleus of what would eventually become "Before Today", a band that flirted with the boundaries of post-hardcore but never quite found its identity. In 2006, after "Before Today" disbanded following the release of "A Celebration of an Ending", the Fuentes brothers made a choice. Instead of auditioning new lineups or starting from scratch, they doubled down, recording music on their own terms. Vic took over guitars, bass, keyboards, and all vocals while Mike handled drums and percussion. The songs they were writing were personal, volatile, and operatic. And they needed a new name to match. "Pierce The Veil" was born from a phrase Vic had written during his college years, describing the need to "pierce the veil" of superficiality and get to the core of things. It wasn’t just a band name, it was a philosophy. As the demos began to take shape, the duo attracted the attention of Equal Vision Records. With the help of producer Casey Bates, known for his work with "Chiodos" and "Fear Before the March of Flames", they entered the studio in Seattle and started to craft what would become "A Flair for the Dramatic". But the album wasn’t a team effort in the traditional sense, it was Vic and Mike in a creative bunker, building every layer themselves, taking turns refining melodies, screams, beats, and breakdowns. Every moment was intensely personal. Photo: Reybee Productions It was only after the album’s completion that the full band lineup was solidified. Tony Perry joined as lead guitarist, bringing a clean and melodic playing style that would complement Vic’s chaotic energy in future records. Jaime Preciado, a friend from the local scene and former bassist of Trigger My Nightmare, brought groove and charisma to the rhythm section. Though neither contributed to the recording of this debut, their arrival solidified Pierce The Veil as a full-fledged live band and completed the circle. The chaos begins with "Chemical Kids and Mechanical Brides", a tight, emotionally wired burst of heartbreak and fury. Vic’s vocals climb the walls, collapsing into themselves and then erupting again. "Currents Convulsive" thrashes and sways like an ocean storm—Mike’s drums splashing down like thunder, while Vic draws blood from every lyric. an then comes "Yeah Boy and Doll Face" is the album’s most theatrical moment—part experimental spoken-word, part scorched-earth breakdown, stitched together with heartache and poetic rage. "Falling Asleep on a Stranger" is the sigh that follows the scream. The stripped-down arrangement pulls you inward, Vic’s voice cracking not with volume, but with pain. It’s intimate, fragile, and unforgettable. "Drella", "I'd Rather Die Than Be Famous", and "The Balcony Scene" push into new emotional terrain—mixing punk urgency with emo confession and Latin-flavored rhythm changes. It’s not just post-hardcore. It’s a genre swirl that only made sense through the lens of the Fuentes brothers' eclectic upbringing. The final stretch—"Diamonds and Why Men Buy Them" and "The Cheap Bouquet"—wraps the record in a dark, romantic veil. These songs are bruised and grandiose, tragic and triumphant. And when the hidden reprise of "Currents Convulsive" drifts in, you realize the drama never ends—it just fades behind the curtain. But there's one more surprise for fans who picked up the iTunes edition of the album: a blazing cover of "Beat It" by Michael Jackson. Pierce The Veil strip away the pop polish and reimagine the song with screaming vocals, double-kick drumming, and jagged guitars. It’s not a gimmick—it’s a tribute filtered through their lens, a defiant nod to a pop icon reinterpreted by a band still defining themselves. In 2017, to celebrate the album’s tenth anniversary, Equal Vision released a special limited edition vinyl pressing of "A Flair for the Dramatic". It came in multiple color variants—including red/black marble and clear gold—and quickly sold out. The reissue was more than nostalgic packaging; it was a reaffirmation of the album’s enduring legacy. In retrospect, this album wasn’t meant to fit neatly into a scene. It was meant to rip through it. "A Flair for the Dramatic" is messy in the best way, ambitious, unfiltered, full of heart and risk. It introduced "Pierce The Veil" not with a whisper, but with a scream wrapped in poetry. Fifteen years later, it still feels like a diary read out loud under stage lights. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 26, 1990, "Sonic Youth" released their sixth album, "Goo". The album included a change in the band's sound and a certain departure from the No Wave style that characterized it. This is perhaps the band's most accessible album, with a cleaner and more processed sound than the band has had so far. The album combined genres like Noise, Pop, Psychedelia, and a bit of rap, (Chuck D from "Public Enemy" is featured on the song "Kool Thing"). The album also features artists such as J. Mascis from "Dinosaur Jr." and Don Fleming. Following the success of the 1988 album "Daydream Nation", Sonic Youth embarked on a major tour with "Nirvana" (who was then just in their initial steps) and Neil Young. This tour brought the band the long-awaited recording contract with Geffen that will help it break out into global success. Despite making the band's sound more accessible (with the help of the record company), "Sonic Youth" was able to maintain its identity. The influences of post-punk and sometimes also the "avant-garde", which corresponds with the "Velvet Underground" (even on the album cover), also exist on this album, despite the "friendly" production. The rough and immature sound from previous albums is still heard in songs like "Cinderella's Big Score" and "Mary-Chris". The familiar Dark touches stand out in the song "Song For Karen", a song about Karen Carpenter from "the Carpenters" who died of anorexia, and the innovation and experimentation that were the band's hallmark are found in the song "Scooter And Jinx". By the way, It is interesting to note that a few years later "Sonic Youth" will complete the tribute to Karen Carpenter with a cover version of the song "Superstar", included in the soundtrack of the movie "Juno". There is no doubt that this album was an essential part of the breakthrough of alternative music towards the mainstream, a move that will erupt in full force a year later. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website