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Metal Bulletin Zine #184 Washington state, US July 27, 2019 (#6 in July) FREE


The Neptune Power Federation

Comrades Come Back from the Dead

Faithsedge: Bleed For Passion Scarlet Records 26 July 2019
Faithsedge is melodic and traditional heavy rock with a
very strong dose of 1980s. The guitar sound is focused on
melodies and hooks that people remember, and also
places emphasis on good soloing. The guitar sound stays
within the tradition of a clearer and pleasant style of
classic, hard rock and heavy metal. Again, this guitar
sound is along the lines of the guitar heroes of big stadi-
um rock, without influences from the downtuned guitars
of extreme metal nor from punk-hardcore. In short, the
guitar takes up a big chunk of the listener’s attention
due to the high use of melody, catchy chords, and
some shredding. The other overriding focus of attention
is the melodic singing, and the choruses are central to
the functioning of the songs.
The older generations of fans that are familiar with this type of music would
probably find Dokken and Stryper as two general points of reference, as guidelines for
expectations. In this music the guitars, the singing and the choruses are three things that
work to please fans of 1980s-style heavy rock that is in the hard rock/melodic heavy
metal genre. Faithsedge now has four albums that have established a certain level of
quality and expectations for good songs—rockers, anthems and ballads—that are
recorded well. This new album delivers on both counts. Just as important, they continue
delivering for those customers looking for old-school 1980s pure classic rock without any
attempts to keep up with whatever trends and fashions there are in 2019. This album’s
line-up is singer/songwriter Giancarlo Floridia, former Dokken lead guitarist Alex De
Rosso and Mr.Big/Ace Frehley drummer Matt Starr, and ex-Stryper bassist Timothy

The Neptune Power Federation: Memoirs of a Rat Queen Cruz Del Sur Music 9/27/19
01 Can You Dig 2:47 02 Watch Our Masters Bleed 5:44 03 Flying Incendiary Club For
Subjugating Demons 4:49 04 Rat Queen 5:57 05 Bound For Hell 3:37 06 I'll Make A
Man Out Of You 4:47 07 Pagan Inclinations 4:38 08 The Reaper Comes For Thee 5:44

“Attention all planets of the solar federation, we have assumed control.” The Neptune
Power Federation has assumed control of the theatrical heavy metal spaceship that is
the vehicle to take you back to the 1970s and keep you there. Picture, if you will, the
hard rocking heavy rock of the 1970s, more or less, some cowbell, with some space
rock atmosphere, some handclapping, some more cowbell (“I’ll be honest, fellas, it was
sounding great, but I could have used a little more cowbell. I’m telling you, fellas,
you’re gonna want that cowbell!”), and you’d have a pretty good idea of the swagger
of this thing.
There is no shortage of 1970s-loving retro subgenre bands. Sweden seems to
produce a disproportionate number of hippy bands, but it’s not just the Swedes that
are cuckoo for the 1970s. The U.S.-Americans have so many psychedelic, stoner, doom,
retro, whatever sub-subgenres that all we need now is for the bell bottoms to be the
dominant style of blue jeans. The problem for many metal fans is that all those bands
don’t want to be metal. It’s either hippy rock, folk rock, psychedelic rock, stoner rock,
and it’s either too light, too slow, too spacey, too proggy. They don’t want to rock hard.
All these objections do not apply to The Neptune Power Federation. This is 1970s heavy
metal, what people called hard rock and heavy rock, and the music itself sounds made
by people who do like metal music, and of course the 1970s early version.
One problem on the album is that they shoot themselves in the foot by using
profanities in some songs. Usually, bands do this to be “edgy,” but all that it means is
that you are limiting your potential customers. For instance, parents cannot play this
music around the kids. Therefore, if you have young children, you cannot play this music
in the car with the kids (the future fans) in it. You don’t think that there are metal parents
who are looking for music to play for the kids? Don’t think some parents put old
Scorpions and Judas Priest vinyl on the record player while
the kids are playing in the living room?! You don’t think
three and four-year-old kids are fans of Scorpions and
Judas Priest? Newsflash: Some kids demand to hear
Blackout over and over and over again. True story. Well, if
the “great producer, the Bruce Dickinson” would have
been in the studio with these Australians, he would have
reminded them not shoot themselves in the foot. He
would imparted words of wisdom, “I’m just like you. I put
my pants one leg at a time. Except, after my pants are
on, I make gold records.” Of course, if the cursing is no
problem for your lonesome naughty self, then it’s time to
rock and roll all nite and party every day. Rock on.

Comrades: For We Are Not Yet, We Are Only Becoming

Facedown Records 7 June 2019
1.Fault Lines 4:06 2.Rest 4:13 3.Smokescreen Season 3:17 4.Cliff Dwelling4:08
5.No Past5 4:04 6.Hollow Point 3:38 7.Reflection 3:25 8.This Ends With Me 3:19
9.Half-Light 2:55 10.Nightingale 4:06

Comrades (U.S.) works with both light, ethereal guitar segments and heavy moments,
while at the same time they have female melodic, soft singing with male extreme
vocals. One of the most defining characteristics is the
feeling of beautiful, sublime music. The guitar has an
abundance soft, gentle, melodic segments that are
indispensable for purposes of taking the music in the
direction of melodies, contemplation, quieter moments,
ambiance, catchiness and other dimensions of beautiful
sounds within this context. This sublime side works
especially with the contrast of the heavy side, which
means shouted extreme vocals that might be interpreted
like the sounds of frustrated desperation or ire, but not
necessarily that; it is there as an artistic counterweight, as
a different form of expression. Logically, the guitar, bass
and drums launch into downtuned grooving heaviness lots of times, as necessary on the
album. Of course, the gentle, melodic singing is a crucial element on the album, and
one of the strong, beautiful points of the music.
The genre name aficionados might like to know that the band and everyone
else seems to call this music post-hardcore and/or post-rock. Be that as it may, but
those labels are helpful mostly in cases where a person won’t consider listening to
anything outside of their preferred “genres.” Scene insiders may like the labels, but if
you are just looking for music that might possibly interest you, according to the above
description, then it’s not good to get caught up with these “post” labels. In addition, if
you like the idea of rock that is both light and heavy, and you are receptive to a
positive message of faith and of spirituality, then this album may be very pleasing.

Come Back from the Dead: The Rise of the Blind Ones
Transcending Obscurity Records September 13th, 2019
Tradition says that what is today known as Galicia, the
region in northwestern Spain, was of particular interest
to the Roman warlords due to the wealth to be found
there in metal, apparently gold. The Roman rulers
were war makers that built and kept intact an empire
through brutality, violence (they liked crucifying
dissidents, for instance), and commerce, as has been
the case throughout the history of empires. Tradition
also says that the Roman warlord dictator Julius
Caesar and his army made their way to A Coruña,
located in Galicia, Spain, because they were
searching for trade in metal. What would Caesar think
of the brutality and metal that two thousand years
later is coming out of A Coruña in the form of Come Back from the Dead? It is not shiny
gold but more like moldy, rusty old iron covered in cobwebs and overgrown vegetation
around it. People in this band seem highly motivated to lay down their own law of
death metal. They shall not domesticate nor gentrify the old spirit. They shall not water
down the old spirit by using melodies. They shall remain steadfast in their allegiance to
the inspiration that drove them to bring back to life the 1980s brutal old death metal.
The vocals are something like a shout-growl, not the low, grumbled type. These
shouts are harsh and aggressive, the way that death and grind bands were growling in
the 1980s on those basement and garage demos, rehearsal cassette tapes and
unreleased recordings and albums. The growling is somewhat comprehensible, and
fans of the genre may find it refreshing to have the feeling that they understand quite a
bit of the words. Musically, what is really important is the grooves and the beat; it’s
atavistic and full of the fun of raging, ranting, raving and screaming. Why do people
listen to this music? They listen because they want simple, brutal old-school death
metal. They want things to be direct, and they want death metal with a fun, grooving
style. You don’t need your music theory textbooks for this album. You need a little bit of
hate in your life, a bit of anger, a bit of horror movies, and a maniacal passion for old-
school cave-dwelling brute ogre death.
metal programs in Washington (Pacific Times)
Excuse All the Blood (Olympia, WA): Friday night 10pm-1am
Metal Shop (Seattle, WA): Saturday 10pm-3am KISW 99.9fm

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