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On February 25, 1979, "Scorpions" released its sixth studio album, "Lovedrive". This album marked a fundamental change in the sound and style of the band. It was the first to set the familiar formula of "Scorpions", which includes a combination of Hard Rock songs with melodic and sweet ballads. It is also the album that some critics consider to be the pinnacle of the band's work. The story of "Lovedrive" begins in 1977, with the end of the recordings of the album "Taken By Force", which marked the end of the psychedelic era of "Scorpions". The change in the musical line led to friction between Rudolf Schenker and Klaus Meine on the one hand, who wanted to push the band's style towards Hard Rock/Melodic Metal, and Uli Jon Roth on the other. These musical disagreements led Uli Jon Roth to decide he wanted to leave the band, but Klaus Meine 's persuasions led him to stay for the tour during which the " Tokyo Tapes " live album was recorded. At the end of the tour, Uli Jon Roth left the band and founded "Electric Sun". In his place, "Scorpions" hired the services of guitarist Matthias Jabs, who was chosen from 150 guitarists who auditioned, thus completing the band's classic line-up. But the story was not so simple, because after Matthias joined the band, a new actor, a "Superstar", came into the picture, in the form of Michael Schenker , the brother of Rudolf Schenker who just left "UFO", after the release of the live album " Strangers in the Night " from 1979. Michael was a guest on the recording of "Lovedrive" and even provided solos and background vocals, for 6 of the album's eight songs. Later Michael will also replace Jabs during the band's tour, but will leave again in April 1979, to set up his own project "Michael Schenker Group". This will lead Matthias back into the band's arms. Why are we telling you all of this? Because the addition of Jabs and the change of musical direction by Rudolf Schenker and Klaus Meine , will bring "Scorpions" to meteoric success that will only intensify from the early 1980s, while "Lovedrive" marks the exact turning point. Rudolf Schenker said that after the departure of Uli Jon Roth , he and Meine were determined to prove they could continue without him. The recruitment of Jabs helped them hone their sound. The songs became shorter and denser and they relied less on guitar solos and more on stadium-oriented catchy riffs. The fact that the meteor Michael Schenker joined the recordings, only added to the confidence and helped the musical change, while giving the band exactly the boost it needed. For example, Michael Schenker 's additions in songs like the energetic and fast-paced " Another Piece of Meat ", the instrumental " Coast to Coast " or the theme song " Lovedrive " is well felt, especially in the last one, where the riff and rhythm, sound like they were borrowed from Michael's previous band, "UFO". Another significant change that took place on this album, was the dominance of "power ballads" like " Holiday ", which will become a regular part of the band's albums, as a matter of deliberate policy. It's not that the band did not have quiet and melodic songs before, but on this album, they came up with the winning formula, which not only will skyrocket their careers, but will serve as a role model for any Hard Rock or Heavy Metal band in the 1980s and beyond. You will hardly find a classic Heavy Metal album during the 80s, without a ballad that tries to emulate the winning recipe that "Scorpions" started on this album. Listen, for example, to "Always Somewhere" (whose chord progression itself was influenced by "Simple Man" by "Lynyrd Skynyrd") https://en.faceoffrockshow.com/post/scorpions-taken-by-force and then to "Don't Cry" by "Guns N 'Roses" and understand what we're talking about. This balanced between "fast and furious" and "slow and melodic", will become an ultimate irresistible combination. This recipe will be incorporated into the band's next albums such as "Blackout" and "Love at First Sting", which will spawn stadium rock anthems alongside timeless ballads. So if you want to know where the so familiar "Scorpions" sound started to crystallize, listen here: Spotify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

A Sneak Peek... On December 5, 2000, Alice In Chains' only live album, simply called "Live", was released. True, we did not forget that one of the band's biggest albums is the masterful album MTV Unplugged , but now we refer to an album where the band is immortalized exactly the way they sounded on stage. In fact, this is a compilation album that includes recordings of the band from a number of performances in a chronological order, starting with the opening song "Bleed the Freak" recorded at the famous Seattle Moore Theater on December 22, 1990 and featuring Mike Starr on bass, through a collection of songs recorded on March 2, 1993 In Glasgow Barrowland, Scotland, and up to the five songs that sign the album, which were recorded during Layne Staley 's last two performances with the band, which were held on two consecutive nights on July 2-3, 1996. It is interesting to note that the album includes the song "Queen of the Rodeo" which was not released on any of the band's official studio albums. This album is an important historical document and not just due to the fact that it includes tracks from Layne's recent performances with the band. This album gives us a chance to be impressed by the band's amazing abilities and especially by the vocal performances of Layne and Jerry Cantrell who prove to us that they sound great and know how to combine harmonies perfectly, even over a prism guitar screen, drum beats and audience roars. Listen to the album on: 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 - 5.12.66 “Stephen is a genius,” troubadour Neil Young  once said about Stephen Stills  - and if Young says it, he’s probably not wrong. Stills and Young collaborated in several groups: “Buffalo Springfield”, whose debut album was released on December 5, 1966, “Crosby, Stills, Nash & Young”, and the "Stills-Young Band". I’ve written before about Stephen Stills ’ involvement in recording the album “ Super Session ” with Mike Bloomfield and Al Kooper. Stills was born in Dallas to a military family and, because the family moved frequently, he grew up exposed to — and loving — a wide variety of musical styles, from folk and blues to Latin music. At age 9, Stephen Stills was diagnosed with partial hearing loss in one ear, a condition that worsened as he grew older. After dropping out of Louisiana State University, Stills played in several bands, including "The Continentals", which featured Don Felder — the future guitarist for “The Eagles”. Stills began performing solo at Gerde’s Folk City, and later joined a nine-member vocal harmony group called The "Au Go Go Singers", where he met his future “Buffalo Springfield” bandmate Richie Furay. Together with Furay and three other members of The "Au Go Go Singers", Stills formed a band called "The Company", which went on a touring circuit in Canada. While in Canada, Stephen Stills met guitarist Neil Young , whose dream was to play folk music with a rock band. To pursue that, Young joined a group called the "Mynah Birds" in early 1966 - a band that also included Bruce Palmer, the future bassist of “Buffalo Springfield”. As mentioned, Young and Stills met in Canada and immediately clicked, but each continued on his own path. Meanwhile, "the Mynah Birds" disbanded because lead singer Rick James (later known for “Super Freak”) was exposed for dodging the draft. Still remembering his encounter with Stephen Stills , Neil Young convinced Palmer to travel with him to Los Angeles in hopes of finding Stills, which eventually happened, though in reverse. Stills eho was with Furay at the time, spotted them while driving down Sunset Boulevard. The four reunited, and were later joined by drummer Dewey Martin, at the recommendation of "Byrds" manager Jim Dickson. Stephen Stills came up with the name “Buffalo Springfield” after seeing it stenciled on a railroad freight car. “Buffalo Springfield” played a blend of folk, country, psychedelia, and rock, combined with creative songwriting and stunning vocal harmonies. They became one of the clearest markers of the rise of folk-rock. Their most recognizable song, “For What It’s Worth,”  was written by Stephen Stills , inspired by the Sunset Strip curfew riots in Los Angeles in November 1966. These riots took place while “Buffalo Springfield” were the house band at the Hollywood club "Whisky a Go Go". Local residents and business owners were bothered by the crowds of young people flocking to nearby clubs and music halls, creating heavy traffic late at night. In response, they pressured the Los Angeles Police Department to enforce a strict 10 p.m. curfew on the area. On November 12, 1966, leaflets were distributed and local radio stations announced a rally and protest outside Pandora’s Box and Crescent Heights. No fewer than a thousand demonstrators, including celebrities like Peter Fonda and Jack Nicholson, gathered to protest the curfew. In later years, the song was embraced as a protest anthem against the Vietnam War. 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 - 5.12.94 When “The Stone Roses” released their groundbreaking debut album in May 1989, they became the dominant voice of the Manchester groove. "Madchester "was a musical scene built on pure good-time energy, and “The Stone Roses” were its most inviting and emblematic faces. But like every passing trend, even the baggy trousers eventually disappeared from the world. Almost overnight, “The Stone Roses” found themselves trapped under a bad contract with the “Silvertone” label they were signed to. "The Roses" took the label to court and fell into a legal mess, unable to record or release a single song. The case was dragged on until May 1991, when "the Roses" finally managed to break free from “Silvertone” and signed with “Geffen”. But “Silvertone” appealed the ruling and froze the band for another year. Around the same time they were stuck in legal proceedings, the dream of Manchester turned into a nightmare. Ian Brown remembers: "…a feeling of community strength … coming out of a club at the end of the night feeling like you were going to change the world. Then guns come in, and heroin starts being put in ecstasy. It took a lot of the love-vibe out". Drugs meant money. Money meant gang wars for control of the market. "The Roses" actually watched a gang leader get shot at a reggae show during 1990. But it was a series of violent incidents at the "The Haçienda" club that finally broke the camel’s back. “The Stone Roses” disconnected themselves from club culture. The band’s bassist Mani moved to a small village in South Wales. Fourteen people he knew died from heroin in a single year. “Kids I’d known since I was seven. I’ve seen people I’ve never ever thought would take the drug, fucked. Me, I’ll turn my back on them people, however much it hurts me. That’s why I moved out of Manchester, I don’t wanna be near it.” Against the backdrop of a dying Manchester scene and endless legal battles, “The Stone Roses” struggled to find their way back musically. They spent much of 1992–93 traveling through Europe and, in a sense, enjoyed the fruits of the “Geffen” deal, which brought them 20 million dollars in exchange for recording five albums. In the summer of 1993 they finally began working on their second album, “Second Coming”, released on 05.12.1994. It was an album that instantly cut away from the hazy optimism of "the Roses" of ’89 and into a band that had experienced both death and birth. Drummer Reni had two sons, guitarist John Squire became a father to a daughter, Ian Brown had a son, and even bassist Mani was expecting to become a new father later that year. More "cooked", and more mature, the 1994 version of "The Stone Roses" were focused on heavier themes such as the origins of humanity, crimes committed by the British Empire, and the way escaped slaves in South America often joined Indigenous tribes. This time Squire wrote all the songs except three. His pyrotechnic solos and wonderful riffs dominate the record. He described the album as an exercise in “neo-classical homo-erotic eclecticism”, an exploration of the most masculine aspects of rock — speed and noise, machines and explosions. On “Second Coming”, "the Roses" turned their backs on their psych-dance rock sound, letting Squire take the reins, write most of the songs, and unleash pyrotechnic solos steeped in the 1970s blues-rock of “Led Zeppelin” and “The Allman Brothers”. This was the album where the guitarist fully embraced the sound of the Les Paul guitar. The result is a much darker record, marked by his confident playing and the fat, punchy tones heard across many tracks, including “ Driving South ” and “ Love Spreads ”. In the 11-minute-and-19-second epic opener called “ Breaking Into Heaven ”, a not-so-subtle hint toward “Stairway to Heaven”?, Squire created layers of sound with his Les Paul guitar to build harmonies that were later manipulated. After a promising start, which included four songs completed in the first four weeks (among them the wonderful “ Ten Story Love Song ”), the work stalled and bogged down. Together with producer John Leckie (“Radiohead”), the band slipped into a year-and-a-half spiral of new distractions: archery, a billiard room, an indoor pool, a sauna, and a jacuzzi - all inside a shared house lent to them by a local millionaire. “It was heaven in every sense of the word,” claimed Mani. One person’s heaven is another’s hell. For John Leckie, the entire period was a disaster. In the end he quit and was briefly replaced by engineer Paul Schroeder, who stepped into the producer role until he too left in February 1994. The band then appointed “Rockfield’s” in-house engineer Simon Dawson as producer. Dawson’s idea was simple: he preferred live recording. But John Leckie’s work did not go to waste. Elements of it - like the long intro to “ Breaking Into Heaven ” — were kept, as were the drum tracks for “ Ten Storey Love Song ” and “ How Do You Sleep ”. Maybe it had to do with Ian Brown’s voice. Brown’s singing is one of the key elements of the album, squeezing enormous emotion out of John Squire’s lyrics. “It’s never easy singing someone else’s words,” Brown said. If you set aside the myth created around the debut album, “The Stone Roses” delivered a wonderful second album that is often overlooked, simply because it didn’t fit the world’s expectations of a follow-up by a band that had influenced with such intensity. A single life-changing, generation-defining album becomes an impossible barrier to overcome. “The Stone Roses” spent years recording their second album. At their peak they looked like they were on the fast track to becoming a stadium band with American-level success. Looking back, “Second Coming” may not have produced a long list of anthems, but it brought with it a fresh-yet-familiar sound from a band that dared, twice, to astonish the world. For Listening : Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Today we will tell you about Tommy Bolin, guitarist and gifted songwriter who beyond his solo career collaborating with other artists including "Zephyr", "James Gang", Billy Cobham and "Deep Purple". (Photo: Courtesy of AEG Presents) He was born on August 1, 1951 as Thomas Richard Bolin, in Sioux City, Iowa, United States, to Richard and Barbara Bolin. Tommy grew up alongside two brothers, Johnny and Rick and also had another brother, Bobby, who unfortunately did not survive after his birth. He has been interested in music since he was young and was influenced by artists like Carl Perkins and Elvis Presley. His stardust could be noticed at a very young age. He appeared on a TV show called "Kids Corner" in an Elvis costume. His performance was so interesting that he got back on the show after only 3 days, because viewers fell in love with him and wanted more from the young and talented kid. He was only 13 years old when he formed his first band "The Miserlous". He later moved to "The Velairs" and later at the age of 15 joined a band called "Denny and The Triumphs", which included Dave Stokes on lead vocals, Brad Miller on guitar and vocals, Tommy Bolin on lead guitar, Steve Bridenbaugh on organ and vocals, Denny Foote on bass and Brad Larvick on drums. They played a combination of rock 'n' roll, R&B and contemporary Pop hits. When bassist Denny Foote left the band, he was replaced by drummer George Larvick Jr. and the band changed its name to "A Patch of Blue". In 1969 the band released a live album called "Patch of Blue Live!", Which consisted of recordings from two performances they had performed. Despite the relative success Bolin felt stuck. He thought he was not progressing with "A Patch of Blue" at a satisfactory pace, so he decided he to leave Iowa for Colorado. He was still in his teens and this was also supported by his parents. When he came to Colorado he joined the band "American Standard" (where he met Jeff Cook his future songwriting partner). He later joined the band "Ethereal Zephyr" named after a train that traveled between Denver and Chicago. Bolin was the lead guitarist, David Givens on bass and his wife Candy Givens on vocals. The band managed to arouse the interest of record companies. Their name was shortened to "Zephyr", and they were signed by a small label called "Probe" and released their debut album in 1969. After the first album the band gained momentum in performances in larger halls and even served as a warm-up band for more established bands like "Led Zeppelin". Their second album, "Going Back to Colorado" was released in 1971 and their third album "Sunset Ride" in 1972. In 1972 Bolin formed "Energy", which did not release an album because it failed to sign a contract deal with a record company. After joining other bands, including "4-Nikators", which included the Givens couple, he decided to take a break and started writing songs for a solo career. During this time Bolin wrote close to 100 songs. In 1973 Bolin replaced Domenic Troiano, who replaced Joe Walsh , in the band "James Gang". He recorded with them two records, "Bang" from 1973 and "Miami" from 1974. Bolin co-wrote all the songs on the albums except one. Between the two albums of "James Gang", Bolin managed to play on Billy Cobham's ("Mahavishnu Orchestra") solo album "Spectrum". Bolin's performance on this album will interest Jon Lord from "Deep Purple", who thought Bolin's playing was simply amazing. Bolin's work with Billy Cobham made him a sought-after session player. He has worked with rock bands and a number of jazz artists, including in Alphonse Mouzon's "Mind Transplant" album, which is considered an excellent fusion album. In early 1975 Bolin was a guest on the Canadian band's "Moxy" debut album and contributed a guitar solo to six songs from it. (Photo: EMI RECORDS) That same year, Ritchie Blackmore left "Deep Purple." The band thought about breaking up as it was clear it would be very difficult to get into Blackmore's shoes, but David Coverdale who also heard Bolin's work on Billy Cobham's "Spectrum" album, decided he wanted Bolin in "Deep Purple" and invited him to a jam session. They played for four hours and at the end Bolin got the lead guitarist role in "Deep Purple". In October 1975, the band released "Come Taste the Band". Bolin co-wrote seven of the nine tracks on the album, including the instrumental "Owed to G," which was a tribute to George Gershwin. At the same time Bolin was signed on a recording contract as part of his solo career and released in 1975 his album " Teaser ", just one month after the album "Come Taste the Band" came out. During Bolin's time at "Deep Purple" he became addicted to hard drugs and used to take them along with bassist Glenn Hughes . This affected the level of playing of the two and this led to a number of cancellations or low level performances of the band. At one of the performances in Tokyo, Bolin arrived after fainting and falling asleep on his left arm for eight hours, so he was only able to play simple chords, with keyboardist Jon Lord having to play many of the guitar roles. This show was recorded and released as part of the album "Last Concert in Japan". After the dissolution of "Deep Purple" in March 1976, Bolin formed the "Tommy Bolin Band" and was immediately signed by "CBS Records", with which he released his second album "Private Eyes", in September 1976. Bolin's last performance was on December 3, 1976 in Miami. Hours later, Bolin died of a heroin overdose. Cocaine and alcohol were also found in his blood. He was 25 at the time of his death. For listening to his last solo album: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Editor's Choice ... And this time ... "Balls to the Wall", the fifth studio album by "Accept", released on December 5, 1983. A year after the incredible breakthrough album "Restless and Wild", "Accept" returns with this excellent album that finally established them as one of the great and influential metal bands of the 1980s. This album earned the band wide international recognition, gaining gold status in a number of countries, including the United States, where it even entered the Billboard 200. In this album the band puts an emphasis on the melody, while slowing down the pace a bit, compared to the previous album, adopting a much more honed and polished sound. This is a much more accessible album aimed for the general public, with catchy melodies and sweeping riffs that will make you wave your fists in the air to the sounds of the metal anthems in it. On "Balls to the Wall", "Accept" forms the sound that will accompany it on the next excellent albums, including " Metal Heart " and "Russian Roulette", on which beyond the focus on melody the vocal harmonies were pushed forward in the final mix. We mentioned "Metal Anthems", so the theme song " Balls to the Wall " is definitely the ultimate example of that. A perfect riff, sweeping rhythm, amazing production and a melody that will not leave your head and will not make you stop singing. The amazing guitar work on this album is simply noteworthy. This time we have guitarist Herman Frank alongside Wolf Hoffmann. It's Herman's only album with the band until 2010, when he will return to the band. The combination Hoffmann and Frank is perfect and combines honed riffs alongside mind blowing solos. Listen to them in the song " Fight It Back ", which happens to be the closest in style to the previous album, and you will understand what we are talking about. This album strives for perfection and does not have a single song that we can define as weak or a filler. Even the use of electronic drums in part of the song " Losing More Than You've Ever Had " will not make us change our minds. Udo Dirkschneider is at his peak here. His singing has always been powerful, but on this album he really surpasses himself and proves that he definitely deserves to be included in the list of great metal singers of the period, and we are not only talking about the powerful part of the singing but also his softer side, like in the excellent " Head Over Heels " and " Winter Dreams ". All lyrics on the album were written by the band and by Deaffy, which later turned out to be a fictitious name used by Gaby Hoffmann, the guitarist's wife and band manager. The lyrics are mostly about "sex" and "politics". Songs like " London Leatherboys " and " Love Child " were perceived as songs about homosexuality, especially in light of the album cover that focused on the loins of a man who was seen wearing leather clothes, but Udo denied that, saying that the song " London Leatherboys " Refers to motorcycle gangs. For Listening: S potify , Apple Music . "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

With “Rubber Soul,” "The Beatles" didn’t just release another record; they reinvented what an album could be. “Rubber Soul” isn’t merely a collection of songs, it’s the moment "The Beatles" reshaped the boundaries of rock itself elevating rock music into an art form. It was crafted with a bold fusion of new sounds, emotional depth, and fearless experimentation that opened the door to to the revolutionary worlds of “ Revolver ” and “ Sgt. Pepper. ” Here are 50 interesting facts about "Rubber Soul": “Rubber Soul” was released on December 3, 1965 in the UK and December 6, 1965 in the US. It is The Beatles’ sixth studio album in under two years. It was recorded in only four weeks at EMI Studios in London. The band was w orking long nights and early mornings to write and record 14 songs before the holiday season. But despite the pressure, they manage to create some of their most innovative work, showcasing their growing studio prowess. No UK singles were released from it, showing their shift toward the album as a complete artistic statement. The album reached number one in both the UK and the US Selling over 8 Million copies. There are few versions about the origin of the album title. The first that it came from Lennon’s joking phrase “plastic soul,” referring to white musicians copying Black soul music. Another is that Paul McCartney suggested the title after overhearing an American musician describe Mick Jagger’s singing style as “plastic soul. A third version is that the band was aiming for an organic feel in the studio without relying on electronic effects. The album marked "the Beatles’" transition from pop hits to introspective, adult-oriented songwriting. Bob Dylan ’s influence pushed Lennon and McCartney toward deeper and more personal lyrics. They increasingly wrote separately despite still using joint credit. The record incorporates strong folk-rock elements inspired by Bob Dylan and "The Byrds". Indian music enters mainstream pop here, with Harrison introducing the sitar for the first time. McCartney’s bass playing evolved into more melodic, leading lines throughout the album. Ringo Starr expanded his percussion with maracas, tambourines, and subtle rhythmic textures. The band used harmonium on several tracks, adding a new tonal color. Three-part vocal harmonies are more complex and more frequent than before. Harrison contributed two songs and began emerging as a confident songwriter. George Martin encouraged experimentation that pushed the band’s studio creativity forward. The album cover photo by Robert Freeman was accidentally stretched and the band loved the distorted look. It was the first album cover that did not include the bands name. The UK album includes 14 songs, while the US version changed the order and removed tracks. Capitol Records altered the US version to emphasize a folk-rock sound. Brian Wilson  said the album inspired him to create “ Pet Sounds ”. "The Rolling Stones", "The Byrds", Bob Dylan , and many American folk-rock bands were directly influenced by it. The album helped open the door to psychedelic music and conceptual albums. Critics frequently rank it among the most influential albums ever made. “ Drive My Car ” was composed by McCartney with contribution from Lennon with the lyrics. Harrison contributed heavily by suggesting a dual guitar–bass riff and bassline in the style of Otis Redding's version of "Respect". It was one of the few Beatles songs where the punchy bass-and-guitar riff was created before any vocal melody existed. Lennon and McCartney recorded their “ Drive My Car ” vocal parts facing each other at the same microphone, increasing the natural tension in their dissonant harmonies. McCartney overdubbed both the piano part and the slide guitar solo in “ Drive My Car ”. He played both. “ Norwegian Wood (This Bird Has Flown) ” is the first Western pop song with sitar and reflects Lennon’s secret affairs, with McCartney suggesting the song’s dark ending. The sitar part in “ Norwegian Wood ” was so experimental that George recorded it sitting on the floor with improvised mic placement. It was recorded unusually quickly. only two full takes were used, despite the unfamiliar instrument. “ You Won’t See Me ” is one of the only "Beatles" tracks where the sustained organ note runs continuously through nearly the whole song, played by roadie Mal Evans because the band needed both hands free. “ You Won’t See Me ” was recorded at the end of a long 13-hour session - the longest day the band ever spent in the studio up to that point. “ Nowhere Man ” was the first "Beatles" song recorded using matching Fender Stratocasters, giving the guitars a sparkling, unified tone. The triple-layered vocal harmonies in “ Nowhere Man ” were mixed unusually bright to mimic the “California sunshine” sound of "The Beach Boys". “ Think For Yourself ” includes a rare 1965 fuzz-bass tone played by McCartney after experimenting with distortion pedals. He recorded the fuzz-bass line and a clean bass line, then the band mixed them like two guitars. “ The Word ” features one of Ringo Starr ’s most unusual drum approaches. he plays backward fills, meaning the rhythmic accent falls before the beat, not after it. Early drafts of “ Michelle ” contained nonsense syllables instead of French lyrics. The French lines were added at the very end of the writing process, with help from McCartney's frien from art school. It later won the Grammy for Song of the Year. Harrison’s guitar solo on “ Michelle ” was deliberately played with minimal vibrato to mimic the dry tone of French café musicians. “ What Goes On ” is the only "Beatles" record credited to Lennon–McCartney–Starkey. Ringo Starr wrote part of it years before joining "the Beatles". “ Girl ” features Greek-influenced scales and intentional breathing sounds as percussive accents. The acoustic guitar in “ Girl ” was double-tracked intentionally out of sync by a few milliseconds to imitate the imperfect feel of Greek bouzouki bands. “ I’m Looking Through You ” originally had no chorus. The band added one late in recording to strengthen the structure. McCartney wrote it after a major argument with Jane Asher. “In My Life ” is one of Lennon’s first autobiographical songs, featuring George Martin’s piano solo sped up to sound like a harpsichord, after Lennon requested him something “Bach-like”. McCartney claims that the melody of “ In My Life ” was inspired by the song "The Tracks Of My Tears", by "Smokey Robinson & the Miracles". “ In My Life ” originally had no instrumental break Lennon left the space empty because he couldn’t decide what belonged there. “ Wait ” was originally recorded for “Help!” and was revived to complete the album. “ If I Needed Someone ” was directly inspired by "The Byrds’" 12-string Rickenbacker sound. George Harrison said he wrote it for Patti Boyd. Lennon said he disliked the jealous “ Run For Your Life ,” calling it one of his worst lyrics. The song shares the line " I'd rather see you dead, little girl", from Elvis Presley's song " Baby Let’s Play House". “ Run for Your Life ” has two different guitar parts recorded by Harrison. One in standard tuning and one in slide, layered to create an anxious, unsettling sound beneath the cheerful tempo. In 1978, 47 top critics and broadcasters voted Rubber Soul the 5th greatest album ever made in Paul Gambaccini’s Critic’s Choice: Top 200 Albums. In the first edition of Colin Larkin’s All Time Top 1000 Albums (1994), the album ranked #10 among the greatest records in history. VH1 ranked Rubber Soul the 6th greatest album of all time in 2001, above many later Beatles records. In Rolling Stone’s famous “500 Greatest Albums of All Time” list, Rubber Soul ranked #5 in both 2003 and 2012. In 2000, Rubber Soul was inducted into the Grammy Hall of Fame, honoring its lasting historical significance. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

On December 4, 1977 “Scorpions” released their fifth studio album “Taken by Force”. What erupted from the band that winter was far more than just another record. “Taken by Force” captured the moment when the raw, exploratory spirit of the early years collided with the sharper, harder, and more melodic identity that would soon define “Scorpions” on the world stage. It is an album forged through tension, shaped by evolution, and ignited by creativity. By the time the group entered the studio, they had already traveled through several musical phases. The atmospheric mysticism of “Fly to the Rainbow” , the emotional focus of “In Trance” , and the sharper aggression of “Virgin Killer”  had all hinted at a shift in direction. Inside the band, that transformation was accelerating. Klaus Meine  and Rudolf Schenker were steering the group toward a heavier, more powerful hard-rock approach, while Uli Jon Roth leaned deeper into spiritual, expressive, and free-flowing guitar artistry. This creative friction is the pulse of “Taken by Force”. Producer Dieter Dierks pushed the band toward precision, conviction, and louder impact. His approach began shaping the sound that would later turn “Scorpions” into arena giants. Roth, on the other hand, poured color, atmosphere, and emotional fire into every solo. The clash between these two visions gave the album its heat, its energy, and its unmistakable identity. The album opens with “Steamrock Fever” , a fast, sharp, electrifying statement that the band was ready for the world’s biggest stages. It is confident, direct, and built with arena instincts the band had yet to fully realize. “We’ll Burn the Sky”  elevates the record into soaring emotional territory. Meine’s voice reaches dramatic heights while Roth’s guitar adds depth and longing, turning the track into one of the album’s most moving moments. The lyrics were initially a poem by Monika Dannemann, the last Jimi Hendrix girlfriend as a tribute to him after he's death. The urgency within the band’s dynamic comes through in “I’ve Got to Be Free” , a track that reflects personal struggle and artistic independence. It’s tense, restless, and driven by conviction. Then comes the album’s crown jewel: “The Sails of Charon” . A dark, exotic riff. A haunting atmosphere. A guitar solo that inspired an entire generation of metal and neoclassical players. This is Uli Jon Roth at his absolute peak, and one of the defining guitar moments of the 1970s. The song was covered by "Testament" on their compilation album "Signs of Chaos" (1997) and Yngwie Malmsteen cover album "Inspiration" (1996). “He’s a Woman, She’s a Man”  delivers the opposite side of the band’s evolving identity — fast, heavy, aggressive, and filled with the attitude Rudolf Schenker would soon weaponize on upcoming releases like “Lovedrive” . The album closes with “Born to Touch Your Feelings” , a heartfelt ballad shaped by atmosphere and emotion. It foreshadows the melodic instincts that would later bring “Scorpions” some of their greatest worldwide successes. The album cover for “Taken by Force” was photographed by Michael von Gimbut, his third collaboration with “Scorpions”. Like the previous two album covers, it sparked controversy and was replaced in many countries with a safer alternative featuring band photos . The original artwork showed children playing with guns in a military cemetery in France, which some viewers found offensive. Upon release, “Taken by Force” did not yet propel the band to global superstardom, but it signaled the end of one era and the beginning of another. It would become the final Scorpions studio album with Uli Jon Roth , whose departure made way for the classic lineup that would go on to dominate the 1980s. 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 - 26.8.2022 To review a "Muse" album is a bit of a challenge if only because every "Muse" album is a whole world. There is always something unusual hiding there that you least expect. I don't think it's necessary to introduce this amazing band, but nevertheless, "Muse" comes from Teignmouth, Devon in England and was formed in 1994. It is a power trio that includes Matt Bellamy (guitars, keyboards, vocals), Chris Wolstenholme (bass) and Dominic Howard (drums). To date "Muse" released nine studio albums, with the first album "Showbiz" released in 1999. An interesting anecdote is that Chris was originally a drummer, but since Dominic was already in the band and took the position of drummer, Chris learned to play bass. The band's new album was produced by the members of the band and was defined by them as "a greatest hits album – of new songs". It was written in response to their label's request to release a "greatest hits" album, which the band refused to do, unless they did it their way. According to Matt Bellamy , the result was a montage of the best of "Muse". A new version of all types of genres that the band touched on in the past. Starting with their seventh album "Drones" released in 2015, the band took a different direction in regards to the theme of the album. Each album included a central theme, around which the songs revolved. For example, in "Drones" the theme was "dehumanization of modern warfare" and in the album "Simulation Theory" it was "science fiction and futurism". The album "Will of the People" also revolves around a central theme and whose lyrics are influenced by the uncertainty and stability in the world. According to the members of "Muse", the Western world and nature, which until now lived in symbiosis for many years, are threatened and therefore an urgent call for political action is required to save the world. Like its predecessor "Simulation Theory", the new album mix electronic sound with live instruments of guitars, bass and drums. In my opinion, in "Will of the People" the band tried to return to the roots of rock sound that characterized it at the beginning, giving a little bit less room for "computer" sound, although here too, the presence of electronic and industrial sound is noticeable. The opening track " Will Of The People " is a defiant glam rock song, inspired by the chaos and protests we've seen around the world recently. Epidemic, wars (even in Europe), demonstrations and riots, attempted uprisings, natural disasters and destabilization of the world order. Although the theme and pattern of the song is somewhat reminiscent of "Uprising" from 2009, "Will Of The People" is in my opinion one of the weakest songs on the album. Repeating the phrase "Will of the people" is quite annoying to me and doesn't really lead anywhere. The verses are the strongest part of the song. The next track, " Compliance " is a sort of dystopian synth-rock song. It begins with the 1980s sound of a synthesizer and with lyrics that talk about life in an oppressive society. A stronger being than us, trying to lure the compliance of the vulnerable with promises of security and reassurance ("Fall into line, you will do as you're told"). As mentioned, these lyrics are not surprising, because this is the band's line since "Drones". The verses have a simply amazing baseline by Chris and it really adds to the song. The next song " Liberation " also continues in this line ("We intend to erase your place in history"). This song takes a more classical direction that is very reminiscent of " The Resistance " and features piano and multiple vocal layers and harmonies by Matt Bellamy , giving a serious vibe of a song from "Queen's" repertoire. Despite the references to this great band, it's still an amazing and mesmerizing show (especially Bellamy's), that gives me chills every time I listen to it. This album has some of the heaviest songs of "Muse", for example, the first single released from it " Won’t Stand Down " which has a fast tempo, heavy riff and screams, and " Kill Or Be Killed " which is also very kicking and metal driven. In my opinion "Kill Or Be Killed" gives a small taste of the old "Muse" from 20 years ago, with a sound that is very reminiscent of songs from "Absolution". It is interesting to note, that on this album the drummer Dominic Howard experiments, for the first time, with double bass, something that only adds to the feeling that "Muse" intended to take some of the songs on this album in a slightly more "heavy" direction. The fifth track " Ghosts " is a sweet ballad, but it's nothing short of amazing in my eyes. It rests on the exciting piano playing and amazing vocal ability of Matt Bellamy . If we have already mentioned Matt, then he sounds wonderful throughout the album and it seems that in each song we get a different color and a different tone of voice from him. I must mention that on the first listens to the eighth and ninth tracks, " Verona " and " Euphoria " respectively, I felt that they were the weakest tracks on the album. But after repeated listening, my opinion changed and I think these are wonderful songs that also remind me of " The Resistance ". The closing track " We Are Fucking Fucked " continues the kicking and excellent line of other songs on the album. This song is a kind of "doomsday vision" that tries to show that our fate is decided. ("The black vacuum of the universe, it was designed to swallow us whole"). Before ending, I must refer to the fifth single from the album called " You Make Me Feel Like It's Halloween ". This single made trying to define the style of this album irrelevant. This song is another proof that "Muse" never ceases to surprise, and even more so. It proves that no matter how prepared you are for their surprises, you'll still be shocked, because you really haven't heard a single like this before... This song combines "Somebody's Watching Me" by "Rockwell" with "People Are People" by "Depeche Mode", with sounds of synthesizers and computer effects from the 1980s, a guitar solo that managed to bring Prince back to life for a few seconds... and a music video full of horror movie montages... simply awesome! In conclusion, the ninth album by "Muse" is a wonderful and diverse album. It will remind you of the old "Muse" from twenty years ago, but it does give a taste of the older repertoire such as " Absolution " and " The Resistance ". I hold the opinion that a band should develop and experiment, as long as it does not sell its soul to the wishes and dictates of the record companies. In this case, "Muse" managed to balance what was expected of them with their musical ambitions. They managed to present different and varied music material, some would say even excessively, so that surely each of the band's fans will be able to find at least one song that would speak to them. Therefore, even if you miss the old "Muse", give this album a chance and come with an open mind, I'm sure you can find some moments of pleasure in it. The big problem with this album lies solely in its length. With ten songs and only 37 minutes of music, there is nothing left but to want more. For Listening : Spotify , Apple Music , YouTube Music , Deezer "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Noam Asulin Release date - 12.8.2022 This is the 11th studio album of the Swedish melodeath band "Arch Enemy". "Arch Enemy" was founded in Hamstard, Sweden. Originally it was a supergroup that included members from the bands "Carcass, "Armageddon", "Carnage" and more. The band was founded in 1995 by Michael Amott - the lead guitarist of "Carcass" and who was part of their album "Heartwork" and by singer Johan Liiva, both originally from a death metal band called "Carnage". The band started to form adding guitarist Christopher Amott (Michael's younger brother) and drummer Daniel Erlandsson. The group's debut album "Black Earth" was released in 1996 and already then Michael Amott took the lead, writing most of the songs on the album, playing lead and rhythm guitar, bass guitar, producing and mixing for the album. In 1999 bassist Sharlee D'Angelo joined the band, while in 2000 vocalist Johan Liiva left the band and was replaced by German singer Angela Gossow, who in 2012 decided to retire from singing and moved to manage the band. Angela was the one who strongly recommended the Canadian Alissa White - Gluz as a singer, then the vocalist of "The Agonist". The entry of Alissa White - Gluz into the band in 2014 and the album "War Eternal", which was also released in the same year, set new standards, when at the same time a significant reinforcement player was added in the form of Jeff Loomis, guitarist of "Nevermore", who replaced Nick Cordle, "Arsis" guitarist, who was called to flag as a replacement for Christopher Amott, who is currently the guitarist of the Swedish band "Dark Tranquility". (Photo: Metalinjection) So far the band has released three albums with Alissa White - Gluz , including the reviewed album. Upon joining the band, Alissa White - Gluz brought something new to the band that was not present during Angela's time. Clean singing which in my eyes only adds to the diversity and sound. "Deceivers" provides us with more of the same melodic death metal that we are used to getting from the band, strong riffs, soaring lead guitars, and death vocals, all of which, we have already gotten used to getting from "Arch Enemy", especially after Alyssa and Jeff Loomis joined the band. But still, this album feels a little different to me. Alyssa's vocals are exceptional as always, but this time the songs seem to have been written to give her the space she's always needed and she uses that space to the fullest, with incredible singing abilities that have simply improved miraculously from the previous albums. It is especially enjoyable to listen to Alyssa sing her clean vocals that add such important diversity to the band's sound. The band has released six singles from the album so far, the first "Deceiver, Deceiver" was released in October 2021 and the last "The Watcher" was released on August 14, 2022. The album starts with " Handshake With Hell " and there's a reason for that. The band knew very well why it was necessary to open the album with this song. "Handshake With Hell" shows what this album is going to sound like and sets the tone for what we're going to get next. Heavy, fast, heavy guitars and with infectious solos. This is one of the band's longest songs. One of the first things you notice when you listen to it is Alyssa's singing and growling abilities. They simply improved and for me she is the added value of the album that makes it one of their best so far. It's a kicking song and very pleasant to the ear. The eighth song " Spreading Black Wings " has not yet been released as a single, but it is a very special song written in memory of Lars-Göran Petrov, the lead singer of the band "Entombed", who died in March 2021 from cancer and is only 49 years old. The album maintains a very high level of writing and performing ability throughout and as I mentioned it is, in my opinion, one of the band's best so far, but that is with the exception of two sections that in my opinion fall short of all the rest. The first, is the instrumental piece " Mourning Star " which, despite its melodies, is, in my opinion, a kind of "filler". It is not new that "Arch Enemy" incorporates instrumental sections in its albums, but mostly these tracks add to the flow of the album or are meant as interludes between the songs, and as such, they have meaning and are interesting to listen to. This is not the case with "Mourning Star", which sounds a bit casual and unrelated to the album. The second, is the track that comes right after it - " One Last Time ", which nevertheless manages to excite a little, especially in the solo during the C-Part. In conclusion, most of the album, as a whole is very melodic and yet very heavy, perhaps the band's heaviest ever. Alyssa continues to improve and proves how good she is, both in the clean vocals and the powerful growls, which in my opinion show how versatile she is. There is no doubt that this is a classic "Arch Enemy" album, with Michael's solos being a kind of "sound signature" associated with the band. However, songs like the opening song " Handshake with Hell " show that the band is interested in developing and presenting slightly different sides of themselves and that is worthy of appreciation in my opinion. The band's drummer, Daniel Erlandsson is my favorite drummer. It's hard for me to explain why, but I really relate to his style of playing and I really enjoy his powerful and precise drumming. Daniel is also responsible for the effects, and the keyboards, he co-produced the album and is the band's guitar and bass technician, so he turns out to be a kind of multi-talent whose contribution to the band is tremendous. Before ending, I must refer to the album cover, which in my opinion is a bit boring and one-dimensional, and does not at all indicate the material inside. I would expect such a beautiful, dynamic, rich, and powerful album to have a cover that would attract the eye with its color and diversity. "Deceivers" by "Arch Enemy" is a tight and good melodic album that will surely be a pleasure for every fan of the band, but also for everyone who loves the genre. In my opinion, this album is easily one of their best so far... For Listening: Deezer , Spotify , YouTube Music , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Noam Asulin Release date - 17.9.2021 Metalcore is a genre that is already quite difficult to innovate in. The sound often contains the same motifs in all kinds of bands. Lots of guitars and distortions, lots of growls and a nice addition of some breakdowns in the middle of the song to close the formula. "Spiritbox" is a Metalcore band, but with a little twist. The band incorporates electronic motifs into the sound, the growls and the general structure of an average metalcore song. So who are "Spiritbox"? The band comes from Victoria, British Columbia, Canada. The current lineup of the band includes Courtney LaPlante (vocals), Mike Stringer who is Courtney's partner (guitars), Zev Rose (drums) and Josh Gilbert (bass) (ex- "As I Lay Dying"). The band was founded in 2017 by Courtney and her partner, when at the end of that year they already released their first EP called "Spiritbox". The band started working on their first full album (the reviewed album) back in 2018, but during 2019 took a short hiatus and released another mini-album called "Singles Collection". The Covid-19 epidemic forced the band to further delay work on the album, which was originally planned to be released in April 2020. In the end, the band moved to Joshua Tree, in California, where they completed the songwriting process, finishing the recording of all 12 songs in February 2021. "Eternal Blue" is a captivating and powerful journey into the intricacies of modern metal. It presents the extraordinary musicianship of the band members, the catchy and fascinating melodies and the uncompromising power. From start to finish, "Eternal Blue" is a kind of school for combining heavy and aggressive elements with electronic and atmospheric music, wrapped in exciting lyrics. One of the outstanding features of this album is Courtney LaPlante's amazing vocal performance. Her versatile and dynamic range shines throughout the album, moving effortlessly from "horrifying" growls to "angelic" clean vocals. LaPlante's ability to convey emotion through her voice adds another layer of depth to the already moving lyrics. The songwriting on "Eternal Blue" is exceptional, with each track offering a unique sonic experience. From the overwhelming heaviness of " Holy Roller " to the atmospheric beauty of " Constance " and the infectious "hooks" of " Secret Garden ", "Spiritbox" demonstrates their versatility and ability to create a wide range of moods and sounds. The band's ability to seamlessly blend elements of metalcore, djent and alternative rock is certainly impressive, resulting in a cohesive and unique listening experience. The production on this album is amazing and allows every voice and instrument to shine while maintaining a balanced mix. The guitars provide a combination of strong riffs, complex melodies and spectacular solos, while the rhythm section provides a solid foundation with strong and steady drumming and thundering basslines. The atmospheric and electronic elements are skillfully combined and add to the overall atmosphere and flow of the music. Lyrically, "Eternal Blue" addresses themes of introspection, emotional struggles, and personal growth. Courtney LaPlante's poignant words delve into topics such as mental health, self-discovery and moods. The depth and vulnerability in the words create a truly immersive listening experience, allowing the listener to connect on a deep emotional level. The opening song " Sun Killer " starts with an atmospheric electronic section and after a while Courtney enters with her clean voice. The song begins calmly, but at its peak Courtney turns to growling and conveys the sharp and clear message that we did not gather here to listen to elevator music. The next song - " Hurt You " continues the line where the previous one ended. It starts with a really infectious guitar-keyboard riff and powerful drums that always make me stomp my feet, as if I'm some kind of glorified drummer myself. The third track, " Yellowjacket " features a collaboration with "Architects" vocalist Sam Carter. I have to say that for my taste, Sam doesn't add much to the song. Collaborations should, in my opinion, yield some added value, otherwise what's the point? And in this case the duet doesn't really bring anything that Courtney couldn't provide herself. The fourth track " The Summit " is one of my favorite tracks on the album, among other things because it has a very addictive and fun chorus. There is something very interesting in the song " Secret Garden ". When I first heard the song, the bass rang in my ear all the way through The verses, the feeling was that he was not quite in sync with the beat. After several listens it became clear to me that it is indeed not in tune with the other instruments, but this is intentional and the more you listen to the song the more you get used to it and even begin to like it. The theme song "Eternal Blue" is in my opinion one of the weakest on the album. He's just not interesting enough. Another song that I really like is the first single released from the album " Circle With Me ". The chorus is super addictive and the song has a very atmospheric vibe that feels very appropriate for the moment when you dive into the depths. A feeling that might be a little hard to explain. You can even say that the album cover quite corresponds with this feeling. In conclusion, the debut album of "Spiritbox" is a very intriguing album, which, unlike other Metalcore albums that sometimes tend to be banal, maintains interest and relevance, precisely because it is different from traditional Metalcore. The electronic tunes that are found in every song on this album make it stand out from the rest and make it fun to listen to for a long time without him getting tired. It's an extraordinary album that showcases the band's incredible talent and artistic growth. With its powerful vocals, captivating songwriting and superb production, "Eternal Blue" is suitable for modern metal fans and anyone looking for a deep musical experience. There is no doubt that the album creates anticipation to know what else "Spiritbox" will release in the future. For Listening: Deezer , Apple Music , Spotify , YouTube Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Noam Asulin Release Date - 10.5.2024 "Unleash the Archers" have always known how to create albums that are not just "albums", but also tell a story. Concept albums are something the band has been doing for a long time and with great success, like they did with their forth album " Apex " for example. "Phantoma" is a concept album that deals with today’s hottest topic: "AI". I personally have a problem with themes about AI, futurism, robots, the question whether humanity will be replaced by machines, etc. I will always prefer words that focus on more rational things. According to Brittney Slayes who sings the clean vocals, the band received quite a bit of criticism for choosing to integrate AI into the album creation process and into their video clips. Unlike previous albums, the new album incorporates synthesizers, something that shows the band’s intention to progress to a more modern sound. The album tells the story of "Phantoma", an AI entity that moves from the world of screens, where everything seems perfect, to the “reality” world that is revealed to her as a lie compared to what she thought. The album starts with " Human Era ", at a relatively slow pace with vivid imagery of a desolate, wind-blown future world, then surges forward into the relentless, high-speed intensity of a power metal stronghold. Brittney is amazing on this album, maybe her best vocals ever. In this song, Phantoma goes out into the world and wants to meet the other side, "humanity". Phantoma feels she deserves more, that she was not meant to be inside a computer, but rather outside with humanity. She feels she can achieve more from her life and searches within herself to understand who she is in the world of humanity. The song slowly picks up a faster tempo and very much reminds me of the band’s previous material. Brittney reaches very impressive heights here. The song has quite a few synthesizers and a wonderful solo. In my opinion it is one of the best songs on the album specially due to the intensity it delivers. " Ph4/NT0mA " comes right after with a tour de force of intertwined guitar solos and soaring, agile vocals, rooted in traditional heavy and power metal influences.   The song "Buried in Code" continues with fast tempo. It kicks things off with thunderous rhythms and lives a blazing a trail. In this song, Phantoma is ready to leave for a better future. Then the album takes a darker turn on the heavy metal powerhouse " The Collective ," where Brittney Slayes’ rich vocals challenge the listener to either join the cause or step aside!. In the song " Green and Glass ", Phantoma discovers that humanity is not what she thought and that it is not perfect, and cracks begin to appear. The solo has a vibe of "Trivium" and indeed Brittney mentioned that they were inspired by them. In the song " Gods Of Decay ", Phantoma tries to save humanity from "the collective", the army of the world she came from, but humanity laughs at her. She realizes that it is not the humanity she used to love, and that there is no one to save. This song shows another changes of style the band decided to make with an upbeat '80s flavor . A more poppy song, slower, softer, but still, in my opinion, one of the best songs on the album. It has a catchy and memorable chorus that made me listen to it again and again. The solo is simply wonderful and boost the song up. The song " Give It Up Or Give It All " is one of the songs where the band went the furthest from their signature style, with a beautiful anthem ballad. The song starts with keys and continues with arpeggio guitar as the tempo slightly intensifies, when Phantoma discovers that she is alone. Both her world and human's world disappoint her. Everything is different from what she thought. In my opinion, the tempo of the song corresponds with plot where Phantoma needs to understand what she must do, like the quiet before the storm of emotions she is about to feel. In the moody " Ghosts in the Mist ", the war between humanity and machines began, the one Phantoma tried to warn humanity from. In the soaring and menacing " Seeking Vengeance ", Phantoma wants to take revenge on humanity, and she shows no mercy. She shows who she really is and becomes merciless and uninhibited. This song is very reminiscent of " Apex " and "Abyss" and the bass line at the beginning is fantastic, making me wish that the bass playing would have more presence on the mix. The album ends up with the bittersweet " Blood Empress ", where Phantoma understands who she has become. She comes to terms with who she is and even proud of it. The song starts with a distorted AI voice of Brittney as Phantoma says "I’m not a human nor a machine". This song is a kind of catharsis, the climax of the story. In my opinion, this is also one of the best songs on the album, with the pre-chorus being the strongest part. In summary, I have always loved the band’s concept albums, and "Phantoma" is not exceptional. It seems that a lot of thought has been invested in the album creation process and there is no doubt that Brittney is a great part of the plot and concept. The production is good, the solos are interesting, and the drums are wonderful, but that’s not enough. Brittney said they were influenced by many bands during the creation process and wanted to incorporate a more poppy sound instead of making the same power album again. Although I understand the desire to evolve, I wasn't into it. A fast tempo and a sound that causes endorphins to fill the brain is what I love in this band's style, but it is less evident in this album. Although the change in sound and style, "UTA" fans will surely enjoy this album, but in my opinion it is only a "Good" album that is slightly disappoint me, compared to what the band has released so far. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website