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 - 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

Written By: Noam Asulin Release date - 2.9.2022 "Lady Silver" comes from Tel Aviv. The band consists of Max Spon (vocals and guitar), Daniel Krichevsky (guitars), Gal Motiuk (bass and keyboards), and Nir Hakim (drums). The band was formed at the end of 2017 and started recording in 2018. In 2019 the band released their debut EP, "Ladies First" and on Sep. 2022 released their full debut album, "Circus Pop", which is the subject of my review. The band aims to bring British rock to the small country of Israel. Already in their debut EP, it was possible to notice many influences from bands like "Arctic Monkeys" and more. The band defines itself as influenced by bands Like "Queens of the Stone Age", "Foals", "Arctic Monkeys", "The Black Keys", "Mother's Cake" and more. "Lady Silver" members note that on their debut album, they took the music in a slightly more modern direction, compared to their EP, released in 2019. The album begins with the song " Wondershow " which was released as a single in April 2021. There is no doubt that already in the first song you can feel many British influences. Max, the lead singer, sounds strictly British. An interesting point is that he studied in Manchester, so the English sound very natural coming from him. Lyrically, the song talks about reality TV culture and voyeurism ("Come and Quench Your Thirst For Voyeurism Through a Socially Accepted Prism"). I can't help but relate to this as one who thinks reality shows and social media have just taken over our lives. In the next song " News of the World " one might think that the singer is Alex Turner from "Arctic Monkeys". Max sings with a low and deep voice that is very reminiscent of Alex. The song talks about speculations that have been raised such as the possibility that the landing on the moon was not real, the earth is flat and China does not exist. " Pigeons " starts with an intro that is very reminiscent of "Knights of Cydonia" by "Muse", from the album "Black Holes and Revelations". Immediately after comes a bouncy tempo with guitars that make me want to dance. The fifth song " Honey " takes a more relaxed direction, but also talks about technology and how today everything is drained to followers on Instagram and that there is a lot of hatred from people who are just keyboard thugs. ("Carry on, Ignore the Haters, they're Just Keyboard Gladiators") One of the strongest songs on the album for me is " Nothing Changes (But the Name of the City) ". The song is very fun to listen to, the guitars sound wonderful and what makes the song special for me is the rhythm change that puts the song in a more theatrical direction, with violins that connect us directly to the next track " You Are the One ". The ninth song " Magic and Science " is in my opinion the strongest song on the album. Every time I listen to it I feel enchanted, just as the name of the song implies. The chorus is simply wonderful and infectious. This is a love song with a twist. When I asked Max the singer about the meaning of the song, I was told that this song is a collection of his thoughts. The song tries to show the commitment and love one has towards music and at the same time a romantic love that is equal in importance and passion to the love of music. Max chose to incorporate paraphrases from songs he admires such as "I Never Loved Anything Until I Loved You" by "Queen of the stone age". You can totally hear it in the line "I Don't Think I Loved Anything Until I Met You". Max explains that the scientific part of love is the chemicals in the brain, and music is also a form of mathematics. Not being able to understand why it's so exciting is the magical part of the whole thing. You can notice that the album is divided into two parts. The first part talks about reality technology and culture and shows a dark side. The second part of the album tries to end it on a more optimistic note, with the help of love and romance songs. In conclusion, I think that the members of "Lady Silver" definitely kept their promise for music that gives a serious British rock vibe, with influences like "Arctic Monkeys", "Muse" and more. You can't go wrong with it. The messages in the songs make the album not only fun to listen to, but also very interesting. The album reflects the shortcomings that technology and the desire for peeking into the life of others have brought with them and reflects on the problems related to adoration, emptiness, and baseless speculations. Before ending, I must mention the wonderful production of the album and Max's dominant vocals. This is an album that sounds and feels international, with a production that would not embarrass large international bands. If you like British rock you absolutely need to give this album a listen. to listen: Deezer , Apple Music , Spotif y, YouTube Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website

Written By: Noam Asulin Release date - 22.7.2022 (Photo: Kay Dargen) "Pool Kids" is an indie/alternative band from Tallahassee, Florida. The band includes four members. Christine Goodwyne (guitar, vocals), Andrew Anaya (guitar), Nicolette Alvarez (bass), and Caden Clinton (drums). The eponymous "Pool kids", is the band's second album, while the debut album "Music To Practice Safe Sex To" was released in 2018. Before I tell you what I think about the album, I want to focus on the cover for a moment. Some of you surely remember the experience of flipping through the record shelves, when suddenly an interesting cover catches your eye and makes you want to listen to it even though you don't even know the artist. How many albums and artists did you get to know this way, just because the cover intrigued you? For me too, the cover is the first impression, when I go to listen to an album of a band I don't know. If the cover is interesting enough to me, I'll listen to the album, even if it's an artist I don't know or a genre I don't usually listen to. In this case, I really liked the cover. The rainbow on the blue background and the minimalistic design was very interesting, caught my attention, and made me interested and curious about the musical material inside. But, in this case, "the cover" did not really indicate "the inside". In my opinion, this is a fairly average album that has only some gems in it. If the whole album sounded like these gems I could say that this is an amazing album, but unfortunately, this is not the case. If we consider the songs as a whole, most of them are quite tiresome to the ear. For me, indie is not an easy genre to listen to, but I think that in this case it could have been made much more accessible and this album would have sounded much better (as was done, for example, in the last album of "Wolf Alice" - "Blue Weekend"). As mentioned, there are some gems in this album. The first track " Conscious Uncoupling " is surprising and gives hope for a fun and kicking album. A rock song with an even more interesting C-Part. The rockish and energetic "I Hope You're Right" and " Swallow " also continue in the same direction and are really wonderful, but unfortunately this is where it ends. Every time I listened to the album I felt as if I was forced to continue to listen to it. The songs, for the most part, are just not interesting enough, not kicking enough, and feel a bit monotonous to me. The non-monotonous songs are actually the best songs on the album and it's a shame that there are only three of them. In conclusion, despite the disappointing feeling I was left with, I'm still very curious to know what "Pool Kids" members will bring to their next album, hopefully, more songs like the three pearls I mentioned above. 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 - 18.9.2020 It really doesn't matter what season of the year or where on earth you are, because the band "Sunken" will make sure to bring you chills of freezing cold with a melancholic and atmospheric album. "Sunken" comes to us from Denmark and was founded in 2012. As of today, the band has two albums, the first one was released in 2017 and their second album is the featured album "Livslede", which was released in 2020. "Sunken" (to sink, to be covered in water) is an atmospheric black metal band that is influenced by nature, the sea, and melancholic themes. This is actually the band that introduced me to this very non-standard subgenre. The band members are: Simon Skotte Krogh (Guitars) Kasper Deichmann (Guitars, Keyboards) Martin Skyum Thomasen (Vocals) Jonas Faghtmann (Bass Guitar) Jakob Ridder (Drums, Keyboards) The album includes a total of five tracks, with a total length of 43 minutes. The first track " Forlist " is an intro designed to introduce us to the melancholic atmosphere that the band members want us to "dive into", literally. The piece begins with the sounds of waves, a piano, and a slow and melancholic violin. The next piece " Ensomhed " ("Loneliness") already includes vocal parts. It is accompanied by the same melancholic motifs, sea, and nature, which are meant to introduce us to the gloomy feeling and "loneliness", but then comes the angry blast beat, screams of agony, and a slow increase in emotion and energy that lasts throughout the twelve minutes of the song. For some reason, despite the cries of cold rage and despair, the atmosphere in this song is still soothing and it doesn't change even when the vocalist enters with hoarse, high-pitched vocals. All five sections have the same atmospheric and sweeping motifs, but as mentioned, they are combined with blast beats and screams that instill a sense of restrained rage. I think this is an album that may not be easy to "digest", especially if this genre is not your cup of tea. However, the melancholy and the sense of nature that is conveyed beautifully in the songs connect me to this album. Regardless of the environment or the temperature I'm in when I listen to it, it makes me feel like I'm enveloped in darkness, in a fetal position during winter. Therefore, even if you find it difficult at first to contain the style, give this album a chance. Who knows, you might be surprised. 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: Moti Kupfer Release date - 29.9.1998 Every crisis passes, the question is how you deal with it when it is in full swing. In the case of "Mercury Rev", the psychedelic rock band from Buffalo, the crisis was expressed in quarrels and a breakup with the band's lead singer David Baker. In addition, bassist Dave Fridmann decided to retire from performing and focus on his career as a producer. Baker's departure after the album "Boces" affected the band's sound, which changed its direction from the realms of "Sonic Youth" to a dreamy and bewitching dream pop, with the singer's position taken over by Jonathan Donahue, whose broken and thin voice sounds like it blends in a kind of wonderful harmony with the bewitched sound that "Mercury Rev" slowly and confidently strived for on their fourth album "Deserter's Songs", released on September 29, 1998. This process did not happen overnight, but over several years, during which band members Jonathan Donahue and Sean "Grasshopper" Mackowiak became addicted to drugs. In addition, Donahue experienced a relationship crisis, and the band managed to release a third album "See You on the Other Side" which failed in stores and led the band to consider breaking up. Donahue and Grasshopper met as children at a children's camp, both grew up in America in the late sixties and early seventies, every Sunday night they would sit down in front of the TV to watch their weekly Walt Disney Hour which would always open with the phrase "When You Wish Upon a Star" and this was their first musical influence, it would later also influence "Mercury Rev" that was formed in 1989. It all started when Donahue, guitarist of "The Flaming Lips" at the time, spent time composing soundtracks for student films made by his childhood friend Grasshopper. Encouraged by their mentor Tony Conrad, a minimalist composer and multimedia artist, they formed a band together, joined by vocalist David Baker, flutist Suzanne Thorpe, drummer Jimy Chambers, and bassist Dave Fridmann. After a little more than a year, Donahue left "The Flaming Lips", and focused on his new band, which initially focused on a psychedelic and messy sound, consisting of influences from Donahue and Grasshopper during their adolescence. Iggy Pop , "Velvet Underground", Terry Jacks, "The Chameleons", and the New York proto-punk band "Suicide". The initial attempts lead to disagreements and addictions, and thoughts of breaking up. But just before they break it all up, inspired by a children's album and Disney soundtracks using classical orchestrations, Donahue pulls "Mercury Rev" in a more organic and quieter direction. The style was built on the principle of accessibility, a kind of combination of Disney songs, songs by composer and musician Cole Porter, and dark and gothic film clips by director Tim Burton. Donahue and Grasshopper secluded themselves for about six months in the Catskill Mountains, New Yorkת where they made contact with two former members of "The Band" who live in the area, Levon Helm and Garth Hudson, and over a period of six months they wrote and recorded their last attempt as a band and what would later turn out to be their breakthrough album "Deserter's Songs". This is an album built from pain, and the shared and difficult experiences that Donahue and Mackowiak (Grasshopper) went through in the period before it. An album that focuses on the two's drug problems, a concept album about separation or distance that defined the idea that in every sad ending, there is hope and joy for the new things that will come in the future. While their previous albums featured layers of distortion and guitars over the basic recordings, this time classical instruments, strings, horns, and woodwinds were used instead of guitars, and Dave Friedman, who returned to the band, this time as producer, mastered the album onto 35mm magnetic tape, a unique process that gave it an intentionally eerie sound while enhancing the music's cinematic feel. All of the songs on the album were written in the same six months in the Catskill Mountains, with the exception of the haunting lead single " Goddess on a Highway ", which Donahue wrote sometime in 1989 while still a member of "The Flaming Lips". The song was forgotten until it was accidentally found on an old tape during the recording sessions for the album. Donahue was reluctant to work on the old song, but was eventually persuaded by Grasshopper. The song hints at an inevitable apocalypse through ecological disaster. " Opus 40 ," named after a massive 57-acre environmental sculpture in the Catskill Mountains, tells the story of a woman, perhaps a girl, scratching her wrists in the pouring rain and collapsing to the ocean floor. The identity of that woman is well-guarded by songwriter Jonathan Donahue, who does not give away any details about her. Levon Helm plays drums here. On the album's opening track " Holes ," Donahue takes us on a journey of his own stream of consciousness and paranoia, backed by psychedelic synths, a slow beat, and bleak vocals. And here come the sounds of the electric piano and the Wurlitzer sorcerer, as Donahue sings and tells of " The Funny Bird ," a funny bird that never lands. In " Tonite it Shows ," Donahue fantasizes about rescuing a woman suffering from poor mental health, and in the song " Hudson Line ," which features Garth Hudson on saxophone, we get the more optimistic side, as Donahue sings about the liberating experience of riding the Hudson Line train north from New York City toward the Catskill Mountains. No doubt! "Deserter's Songs" is essentially born out of loss, pain, and regret, but it also brings with it the moment when "Mercury Rev" through redemption and consolation finds her place, and her home. Dave Friedman took advantage of his knowledge from the album to simultaneously produce the excellent "The Flaming Lips'" ninth album "The Soft Bulletin", where he used similar production techniques. 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 - 21.9.1978 "If you can't say what you have to say in two minutes and ten seconds, then don't say it at all." This important statement by Jeffrey Ross Hyman, aka Joey Ramone, summed up the entire essence of punk music. Some believe that the "Ramones," whose fourth album "Road to Ruin" was released on September 21, 1978, is the genesis of punk. The "Ramones" were formed in 1974 in the Forest Hills neighborhood of Queens, New York, but if we dig a little deeper into the background from which they emerged, it will become clear that two of the band members are actually descendants of Jewish families, some of whom survived the Holocaust with great difficulty. All members of the band adopted pseudonyms (Tommy, Johnny, Joey) ending in the surname Ramone, although none were biologically related; the band's name was inspired by the "Beatles" member Paul McCartney who used to check into hotels under the pseudonym "Paul Ramone". The original members: Joey Ramone (Jeffrey Ross Hyman) on vocals and drums, Johnny Ramone (John William Cummings) on guitar, Dee Dee Ramone (Douglas Glenn Colvin) on bass, and Tommy Ramone (Thomas Erdelyi) as drummer and band manager. Cummings and Erdelyi had played together in the 1960s garage rock band The Tangerine Puppets and befriended Douglas Colvin, who had recently returned from Berlin with his mother and sister. Jeffrey Hyman, born in New York in 1951, was a fan of David Bowie , "The Beatles", "The Stooges", and "The Who" - in which he particularly admired drummer Keith Moon , who inspired him to learn to play drums at age 13 and played them until he bought an acoustic guitar at age 17. Hyman joined the glam rock band "Sniper" in 1972, where he was a member for about two years before being replaced by Alan Turner in early 1974. Later that year, he joined Cummings, Erdelyi, and Colvin to form The "Ramones", a name that as mentioned, came from Paul McCartney's pseudonym, Douglas Colvin, called himself Dee Dee Ramone and convinced the rest of the band to change their name. On March 30, 1974, they made their debut at "Performance Studios", playing very fast and very short songs, about two years before this genre was given its name - Punk Rock. At the same time, a new music scene was emerging in New York City, centered around two clubs: "Max's Kansas City" and "CBGB" (an acronym for Country, Bluegrass, and Blues), a club where the roots of punk grew with artists such as "The New York Dolls", "Television", "Blondie", and also the "Ramones", who quickly became household names at the club where they performed no less than 74 times between August 1974 and the end of the year. At the end of '75, they signed a recording contract with "Sire Records" and soon began to be recognized as the leaders of the emerging punk scene, largely thanks to Joey Ramone, whose singing style was original, unlike other bands in New York. As the leaders of the scene, "The Ramones" managed to influence and give confidence to new bands that arose around them - (also on the other side of the ocean) Like "The Clash", and "The Damned". Their further performances in California led to the formation of punk bands in the area such as "Black Flag", "Dead Kennedys", "Bad Religion" and "Social Distortion". But one thing wasn't working, low sales of their first three albums, which put pressure on them for the fourth album, especially when they saw another "CBGB" band ("Blondie") breaking through. At this point, punk began a sharp decline until its death about a year later, and the "Ramones" who were aware of what was happening around made a change in the drummer position, when Marc Steven Bell (Marky Ramone) left the band "Richard Hell and the Voidoids" replacing Tom Erdelyi (Tommy Ramone) who remained in the position of producer (and additional guitarist) along with Ed Stasium, and together they helped to change the band's styile and sound. No more fast, wild, and short songs without a production touch, but slower, longer songs with occasional overdubs on the guitar, bass, and drums. The style of the songs moderated towards pop-punk with dominant pop songs such as " Don't Come Close " and melancholic ballads such as the remake of Jackie De Shannon's " Needles and Pines ", and the ballad " Questioningly ". The album incorporated musical elements that were less prominent in punk rock, such as guitar solos (heavy metal), and sixties-style ballads. Lyrically, the "Ramones" sing about their experiences during the shows, the pressure that erupted into the line "Just put me on a wheelchair, get me to the show" in the song " I Wanna Be" Sedated ", a song that tells of a feeling of emptiness, when the "Ramones" arrived in London for shows and ended up watching American movies in the hotel instead of exploring the city. In " Don't Come Close " and other songs, the lyrics focus on various states of relationship from love to frustration and lack of communication. The closing song " It's a Long Way Back " was written about Dee Dee Ramone's childhood in Germany. The album cover is the work of art by Gus MacDonald, a fan of the band who came up with the idea and sent the band members an illustration of them performing with a crab coming out of the amplifier and a snake placed around their legs. 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 - 20.9.1994 "Guitar hero" is a nickname usually given to virtuosos among them, those whose guitar sound brings with it a musical stamp, and sometimes even world fame, the furthest from the "guitar hero" I'm talking about today, Grant Lee Phillips. Phillips is a member of the alternative country/rock band "Grant Lee Buffalo" whose second album "Mighty Joe Moon" was released on 20.09.1994. Grant Lee Phillips was born into a family of religious preachers in Stockton, California. He was influenced as a child by the band "Kiss", and David Bowie , and by the blues that his grandmother loved to listen to, so the music Phillips plays is a combination of rock and blues. At the age of 13 he was a member of the band "Bloody Holly" in which he was the sole songwriter. After attending and dropping out of UCLA, Phillips met drummer Joey Peters in Los Angeles, and together they formed the psychedelic rock band "Shiva Burlesque". The band released two albums, and during one of their shows, Paul Kimble saw them and liked what he saw. When "Shiva Burlesque" broke up, it was Kimble's turn to join the band in place of bassist James Brenner, and the trio began performing without a permanent name. During 1991, the band's name was established as "Grant Lee Buffalo", a name that combines Grant Lee Phillips' name with a combination of historical American items such as Buffalo Bill and magician Harry Houdini. "Grant Lee Buffalo" performed weekly in West Hollywood at the Cafe Largo as they slowly began to gain fans, while at the same time sending samples of their songs to the label Singles Only ("Hüsker Dü"), who released the song " Fuzzy " in 1992, which later became the band's huge hit. Meanwhile, "Grant Lee Buffalo" increased their fan base nicely, to the point that a representative from the record company "Slash" who came to sign them to a contract with the company had to wait in line for 45 minutes. The debut album, released in 1993, was called "Fuzzy" after their famous hit, a hit that prompted the band "Pearl Jam" to take them as an opening act for their tour. In early 1994, the band began working on their second album "Mighty Joe Moon" but on January 17, 1994, Los Angeles experienced a major earthquake, the results were severe, Paul Kimball's house was destroyed, and the same fate befell Grant Lee's trailer. With no choice, the band stayed in a tent at Peters' house, and every morning they would wake up to the sounds of birds. Grant Lee was inspired by the sounds of birds, and wrote the song " Mockingbirds " about it, which was also the band's first single from the second album, a song that did relatively well when it reached the Top 20 of the American Modern Rock Chart. "Grant Lee Buffalo" released "Mighty Joe Moon" in an interim period between the dominant grunge that still set the tone in the US, and the rap/rock bands that came right after the end of the grunge era, so this album kind of "fell between the chairs", and did not receive the recognition it deserved. "Grant Lee Buffalo" play melodic rock/folk on the album on the one hand, and noisy rock full of feedback on the other, this fascinating contrast is read throughout the album, and sometimes even in the same song (for example in the opening song " Lone Star Song "). Grant Lee Phillips' voice manages to sometimes sound powerful like the lead singer of a heavy rock band, and then lower the tone all at once and sound like songwriters such as Gordon Lightfoot and James Taylor. It is a well-known rule that sad songs are usually slow, and happy or angry songs are rhythmic, "Grant Lee Buffalo" is one of the few bands that plays songs with anger and high internal combustion at a slow pace. For Listening: Spotify , Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook  / Instagram  or Subscribe to our website