Christian Mistress : "To Your Death" review & "Open Road" video

The air of hip, slick, and coolness about that album has been replaced by more of a  Pat Bentar thing going on with the opener with traces of Judas Priest's more radio rock moments coating the edges. Singer Christine Davis does have a better knack for the placement of her melodies than many of the so-called occult rock bands that cropped up in their wake. "Stronger Than Blood" is a little heavier thought that invokes the days when rock and metal were not as far removed from one another as they are today, so bands like Thin Lizzy and early Iron Maiden come to mind in the guitar harmonies.

Despite the Trooper-like gallop that "No Place" takes on it doesn't grab me like the first two songs do. There is a Van Halen-like opening to "Walkin Around" The song goes into a more upbeat gallop than the previous songs. This album does pay more homage to classic metal than "Possession" and could be said to have a retro feel. The twin guitar attack is very melodic, but also feels like it is pushed way forward in the mix like they are standing on the monitors looming over you. Though it should be heavier to due the manner the pace is picked up for some reason "Open Road" isn't heavier. It might be a feel thing. With metal, you can't fake the funk, either the aggression is in you are it's not, so it could be said that they are playing metal notes, but just don't have aggression in them. To play metal and mean it there needs to be some form of darkness, that you are not just giving lip service too. I think that is why their last album was so effective is that it wasn't trying to be metal it just was what they are.\


They chill out on "Ultimate Freedom" and this feels more like who they really are. When this song does build the more metal elements are the more effective they have been on this album and their drummer Rueben Storey really proves himself. "Lone Wild" takes on a doomier tone that works well to darken things up. This take on metal is much more authentic to who they are as a band. They go more into almost Motley Crue style of rock sans cowbell on "III". I like the riff , but "Too Fast For Love" was also one of my first albums. Not sure if it really holds up as an instrumental since Davis' voice is their signature, but it's worth the listen.  Overall, you can't argue with their influences and even when it seems like might not be feeling it as much their musicianship pulls them through the tough spot, they hit more than they miss and bring some impressive moments to the table along with some songs that knock it out of the park in places, so I'll give it an 8.5.

The album will be released on Relapse Records on Sept 18th.

Soggy Creep: "Worry Lines'

The "Worry Lines" ep came out last month on angst of this rowdy three piece from Washington recalls "Bleach" era as much as it does "In the Flat Field", in fact you can even hear the early Get Up Kids in the way the singer pours himself into reaching for the notes. They set off on the darker footing of "Nocturnal Life". The vocal approach places heavy emphasis on the punk in post-punk, hell there is barely anything post- about his snarl. The darker elements all call from how the chords are allowed to ring out and the restraint the drummer uses. It could easily devolve into "one, two, three...go"punk if not for the deliberate pacing.

 The bass leading into "Behold, Bile" is somewhat death-rock, but not no where as lavish in it's Halloween worship as other Christan Death devotees. This is where I begin to hear the grunge influence, which must literally come with the territory  considering the history of their homestead. The Get-Up Kids I was hearing comes in on the slower stomp of "Ghost House", but it also is haunted by Cobain's ghost. The reckless way the let the chord linger and the minor walk down after the chorus carry a little grunge to it. The bass line is the spookiest element. The guitar "solo" is a dissonant excursion into melodically manipulated feedback, that drives back to the chorus in a very "Bleach" fashion.

The bass player once again takes control on "Further Down", which allows the guitars to get rather rock n roll. The death-rock elements here are vague shades of other organic rock bands like the Cult and the Estranged, who have a dark side but I would be reluctant to call goth. This is further dispelled once the flannel is out with it's foot on the monitor despite the spookier under belly some of the chord progression might hint at.I can also hear some horror punk influence, a little Lords of the New Church, but more Dead Boys.

I'll round this down to a 9, which means that while I really enjoyed this ep and want to hear what these guys do on a full length, the last song got too rock n roll for me towards the solo filled build at the end. We can debate until the bats fly home what makes them punk, goth or whatever, but not unlike the Estranged these guys have really shaken it all together and spit it out with enough attitude that you really don't care once it sucks you in.