Archive for Peter O’Brien

Review: GWAR – Lust in Space [2009]

Posted in GWAR with tags on August 21, 2009 by gearsofrock

Amazon Gwar LustBy Peter O’Brien

It’s been three years since the crack addicted, necrophiliac, space-mutant maniac quintet (GWAR) went “Beyond Hell.” They return now to share their most recent intergalactic exploits through song with their eleventh studio album, Lust In Space. The album marks not only the bands return to the Metal Blade label, but also the return of bassist Casey Orr to the role of Beefcake The Mighty. Like many other GWAR albums, Lust In Space is a concept album constructed to coincide with their elaborate stage show. Their concurrent themes and cavalcade of characters allow them to mix up classic tunes with the new material almost seamlessly. The album was released on August 18, 2009 and commemorates GWAR’s 25th Anniversary of attempting to destroy the world.

The album begins with an epic title track that echoes earlier songs such as “We Kill Everything,” and “Go To Hell.” It begins as a melodic lament and quickly transcends into a full on metal soliloquy of hate, murder, sex, and escape. It also establishes the journey that the band is about to embark on within the following songs. “Let Us Slay” has all the makings of a classic GWAR song. It’s driving thrash rhythm and encompassing chorus, coupled with its barbaric themes of crusades and holy misconceptions perfectly illustrate the parody of our world which is reflective in GWAR as a statement and ideology. The album continues with “Damnation Under God,” a tale of intergalactic decadence and “The UberKlaw,” a track no doubt written for the sole purpose of building something hideous to mutilate victims with on stage.

The first half of the album culminates with a speed metal thrash masterpiece entitled “Lords And Masters (Of All We Survey).” The song has everything you could want: driving rhythms, ripping solos, melodic leads, and vocal arrangements that make you not only want to punch someone to death, but also twist their head off so you can see the life drain out of their eyes. Lyrically the song is completely in tune with the legacy of brutality that GWAR has been claiming since its inception, closing with the line “Compared to my crimes, Hitler’s pale.”

Songs like “Metal Metal Land,” a play on Never Never Land, show the lighter side of the bands humor. An anthem to all the metal heads that never traded in the denim jackets for sport coats. The song is about a fabled land, a place where “80’s hair bands are still hated,” and “no false metal tolerated.” Other songs in this vein include “Where Is Zog?,” an absurd quest for Oderus’ former mentor and his pathetic fate, and “Make A Child Cry.” The latter calls back to themes explored in earlier GWAR songs like “Have You Seen Me,” and “B.D.F.”

“The Price Of Peace” is probably the most straightforward metal song on the album and could easily appear in the catalog of any other band in the genre. Lyrically the song deals with the paradox of humans being unable to achieve peace unless they annihilate each other. It is the only song sung by Beefcake The Mighty, although he does provide back ups throughout the album and even has a duet on “Metal Metal Land.” For all the absurdity and exaggeration that GWAR carries with them, it is songs like this that show them for what they really are: one of the most brutal, underrated, prolific, and serious METAL bands EVER.

After 25 years it would be asinine to say that GWAR aren’t the kings of the rock opera. They took the best of artists like Alice Cooper, Ozzy Osborne, and KISS and applied a contemporary sci-fi edge, making them timeless. Since their return to the exclusive realm of metal with 2001’s Violence Has Arrived, after exploring the fringe of musical boundaries in the mid to late 90’s, GWAR has methodically evolved into a technical thrash legacy that challenges the most serious artists of the metal genre.

4 StarsGWAR is Oderus Urungus – Lead Vocals  (Dave Brockie), Flattus Maximus – Lead Guitar (Cory Smoot), Balsac the Jaws of Death – Rhythm Guitar (Mike Derks), Beefcake the Mighty – Bass Guitar – Backing Vocals (Casey Orr), & Jizmak Da Gusha – Drums – Percussion (Brad Roberts)

Track Listing:

  1. Lust In Space
  2. Let Us Slay
  3. Damnation Under God
  4. The Uberklaw
  5. Lords And Masters
  6. Metal Metal Land
  7. The Price Of Peace
  8. Where Is Zog?
  9. Make A Child Cry
  10. Release The Flies
  11. Parting Shot

GWAR links: Lust in Space on Amazon.comOfficial SiteWikipedia

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.

Review: Iron Maiden: Flight 666 The Film [DVD 2009]

Posted in Iron Maiden with tags , on June 11, 2009 by gearsofrock

Amazon Iron Maiden Flight 666By Peter O’Brien

Last year heavy metal pioneers Iron Maiden set out on the most ambitious tour not only of their career, but the entire history of touring. Challenging every facet of the production, performing 23 shows in 45 days over 50,000 miles in 11 countries on four continents, and that was only the first leg of the tour. Maiden took to the sky in their custom Boeing 757, “Ed Force One,” which was also piloted by their singer, Bruce Dickinson. In addition to the band and their families, a crew of 70, and 12 tons of stage equipment they also brought along Canadian filmmaker’s Scot McFadyen and Sam Dunn (Metal: A Headbanger’s Journey) to document the event. The result is the new film Iron Maiden: Flight 666, which was released by Universal Music Enterprises on two disc DVD and Blu-Ray June 9th, 2009. A two disc CD of just the concert was also released.

Recorded during their historic “Somewhere Back in Time Tour,” which had the band performing songs only from their 1980-1989 catalog, the film presents a good balance between the show both on stage and backstage. Beginning at the start of the first show in Mumbai, India the film quickly backtracks to the previous forty-eight hours with the loading of the plane in England. Bruce Dickinson sums up that the goal of this tour, and motivation for “Ed Force One,” was to be able to play all the locations that are often too expensive and out of the way for a typical tour schedule. The film is peppered with individual interviews of each band member giving reflective insights on the tour, as well as creating intimate portraits of their dynamic personalities. Throughout the course of the film you get a sense of how ordinary they really are in their day to day lives off stage: playing tennis, golf, sight seeing, spending time with their families.

The highlight of this film is seeing the worldwide impact that Maiden has had on their fans over the last thirty years. Unlike most bands with Maiden’s lifespan their fans seem to get younger and younger as new generations discover their music. From parents sharing the band with their children, to a priest in San Paulo, Brazil who has over 160 Iron Maiden tattoos, to teens living in a militaristic police state they are able to transcend cultures in a way even Christ couldn’t do. Their status as living legends is not overlooked among their contemporaries either. At the Forum in Los Angles the backstage footage showcases a cavalcade of metal personalities including Ronnie James Dio, Scott Ian, Kerry King, and Lars Ulrich among others. The bulk of the tour (and film) is spent in Central and South America where the excitement is unrelenting. As stated in the beginning of the documentary, with little radio or mainstream media support they have managed to conquer the world, selling over 70 million albums and playing some of the largest concerts in music history.

As a bonus to go along with the film the second disc is the entire concert from this tour’s set, with each song performed at a different location. Most of these are featured throughout the film in varying capacities, but here each performance is presented in full. It is quite reminiscent of the “Live after Death” concert from ‘85 and makes a nice companion to the earlier film. Not only because this tour is a throwback to that one and shares a similar set list, but it shows that despite that passage of twenty-five years they still have all the energy, enthusiasm, and appreciation for their fans who have made their career last that long.

The film really paints a humbling picture of this band in a positive way. Unlike most metal documentaries that thrive on controversy and hardships this one is really just a lot of fun. Even the fact that Dickinson is flying the freaking plane speaks volumes about his character and commitment to Maiden’s fans. That he would do all that and go out on stage every night to perform – you know Hetfield isn’t driving Metallica to their gigs, and forget about Ozzy getting behind the wheel of anything and making it show up in tact. It is very reassuring to see that even after all of their years that Maiden still has the integrity of a band with nothing to lose. The DVD comes packaged as a small hardcover book and includes 24 pages of pictures and journal entries from the tour by singer and pilot Bruce Dickinson.

4 StarsIron Maiden is Bruce Dickinson (Vocals), Steve Harris (Bass), Adrian Smith (Lead/Rhythm Guitar), Dave Murray (Lead/Rhythm Guitar), Janick Gers (Lead/Rhythm Guitar), & Nicko McBrain (Drums).

Track Listing:

  1. “Churchill’s Speech”
  2. “Aces High”
  3. “2 Minutes To Midnight”
  4. “Revelations”
  5. “The Trooper”
  6. “Wasted Years”
  7. “The Number Of The Beast”
  8. “Can I Play With Madness”
  9. “Rime of the Ancient Mariner”
  10. “Powerslave”
  11. “Heaven Can Wait”
  12. “Run To The Hills”
  13. “Fear Of The Dark”
  14. “Iron Maiden”
  15. “Moonchild”
  16. “The Clairvoyant”
  17. “Hallowed Be Thy Name”

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.

Review: Buckethead Live At B.B. King’s Blues Club New York City May 30, 2009

Posted in Buckethead with tags on June 2, 2009 by gearsofrock

BucketheadBy Peter O’Brien

The marquee hanging over the sidewalk on 42nd Street proudly reads in bold, red, capital letters “BUCKETHEAD.” To the average pedestrian walking down the street the sign has about as much meaning or appeal as a disappointing sideshow outcast, but for those in the know the sign is a beacon attracting a special breed of music fan—the eclectics. People whose minds are wide open to all the diversity and uncharted boundaries of guitar instrumentation. Music that is so unconventional it can only be played by the masked slaughterhouse refugee known as Buckethead.

Down stairs the opening act, an artist named Wolff (, is performing his solo electronic tuba music. Standing center stage he looks as though Liev Schreiber (as Sabertooth) let himself go, strapped a modified tuba to his chest, ran it through a collection of guitar effects pedals, and decided to perform. From a technical standpoint it is very interesting what Wolff has been able to achieve, but from a visual and aural standpoint he appears to be trying to hard. Each song is performed entirely using the tuba. He creates the rhythm by knocking on the instrument and then loops it using one of his effects pedals, then moves on to the next layer of the composition. Once the songs get going they are obviously very repetitive, but on top of that the levels are all out of whack because he is to busy performing to adjust anything. The best way to describe the sound is aneurysm inducing. To be fair the recordings he has available on his MySpace ( do capture the true magnificence of his technical creation and provide the control necessary to display them. Sometimes an artist can’t capture their live sound on their recordings, that saying goes both ways.

At precisely 9:15 p.m. Buckethead takes the stage, his trademark KFC Funeral bucket is replaced with a plain white plastic one. The instant he strikes the first string the all to familiar scent of marijuana floats through the crowd; a moment the toker had no doubt been waiting for all night, thinking it will enhance his experience at the show, not taking into consideration the five hundred other people around him (including small children). At that same instant a sea of hands go into the air, but rather than showing support, or projecting admiration they are all holding up digital cameras in an effort to record the performance, obstructing the view for everyone not near the stage. Suffice it to say there was little to no concert etiquette displayed by the crowd; one would think that most of them had never been to a concert before in their lives.

None of this prevented Buckethead from issuing another savage performance and showcasing a mastery of his craft. With his iPod providing the background rhythm Buckethead began shredding up and down the neck of his modified Gibson Les Paul, occasionally pulling it down as he played, using his elastic strap to create an awkward illusion. Every trick, technique, and style, plus some stuff he probably just made up, was displayed during his performance. His slender fingers running up and down the fret board was, at times, hypnotizing. There were moments when he would play with one hand while using his custom red button kill switch to cut out the sound on the guitar, creating new rhythms and, in a way, very distinct riffs. The six-inch span between his first and fourth fingers no doubt allows him to manipulate chords and reach notes not common to average guitar players. All of this played with the dexterity, precision, and confidence of bird flying, or a cheetah running at top speed. He makes it look so easy and completely natural, like a bodily function.

Two-thirds of the way through the show he took an intermission to demonstrate his other talents. He began with two sets of nun chucks, whipping them around like he was going to take on the entire Foot Clan. He then put on two foam hands and proceeded to dance the robot, syncing his movements to hydraulic noises coming from his iPod. Afterwards he picked up a sack and began giving gifts (toys/action figures) to members of the audience. The intermission was extended while he went backstage to change a broken string. Upon returning he played to end of the show with out letting up, like a machine.

The only flaw with the show was the lack of other musicians. Granted, Buckethead is a solo artist in the most literal sense of the phrase, but if he’s the only one on stage and he moves out of view there is nothing to see – you can do that at home, for FREE! At least if he had a drummer and bassist you could witness the intense rhythm that he follows, instead of just hearing it. There were times where it seemed like he wasn’t even playing because his movements weren’t syncing up to the music in the background because of the delay effect. If there were other musicians your focus would be split and pulled together at once. The tradeoff is most of what he saves on overhead probably gets poured back into his plethora of albums he seems to simply sneeze out. The trick is finding a balance that doesn’t short change the fans that buy those albums.

If the opportunity presents itself Buckethead’s show is totally worth checking out. Whether a fan or musician you will find his performance not only entertaining and interesting, but also inspiring. The versatility and ease with which he transitions in and out of styles is remarkable. Add his speed and accuracy to it and it becomes phenomenal. Put a bucket and mask on his head and it becomes authentically indescribable.

4 Stars

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.

Review: U2 – No Line On The Horizon [2009]

Posted in U2 with tags on March 4, 2009 by gearsofrock


By Peter O’Brien

Henry Rollins once said, “The Clash is the band that U2 always wished they could be.” That may have been the truth once upon a time, when the angst filled, youthful quartet released their debut album Boy almost three decades ago, but now they simply have to settle for being U2. They have evolved into a sound that is so unique that there is little chance of confusing them with anyone else. Productively U2 has slowed down some since the early eighties, yet in between humanitarian crusades the Irish superheroes have managed to produce enough songs for not only their new album No Line On The Horizon, but also allegedly another release due out later this year. No Line On The Horizon is the bands twelfth album of their career and was released March 3rd, 2009.

The album begins with the resounding rhythm driven title track, “No Line On The Horizon” This song displays all the classic U2 elements as well as that of producers Brian Eno and Daniel Lanois. The whole album has a resonating electronic vibe underlying it that fills out the sound, but also takes away from the rock n’ roll edge. This is how U2 is able to bridge between genres, and claim the vast audience they command. They rock just enough not to be pop, and pop just enough not to suck. The second track, “Magnificent,” displays this concept perfectly. The arrangement of the Edge’s guitar work balanced with Bono’s tender vocals keeps the songs in the dead center of a very narrow road.

The album is the audio equivalent to a wooden roller coaster ride. It starts off fast at the top and brings you down to mellow, yet moving tracks like “Moment of Surrender,” before beginning the climb to the next peak in the middle of the album. The ascent begins with “Unknown Caller,” a song that is musically reminiscent of their earlier work; it has a gradual instrumental build up that lead into lyrics about isolation brought on by technological advancement.

The middle set of songs, “I’ll Go Crazy (If I Don’t Go Crazy Tonight),” “Get Your Boots On,” and “Stand Up Comedy” are solely credited to the band, without Eno or Lanois taking credit musically. They are also the most energetic and rockin’ songs on the album, void of ambient overdubs. It is on these songs that the real (angst filled, youthful quartet) U2 is displayed, while the others songs showcase their full potential as performers and composers. The listener is given another break from the aggressive rock at track nine with “White As Snow,” a ballad sung from the perspective of a dying solider and musically set to the melody of “Veni, Veni Emmanuel.”

As the end of the line draws near the band takes one final turn with “Breath,” a track that echoes the power and intensity of songs like “Pride (In the Name of Love).” The album closes with “Cedars Of Lebanon.” A vocally driven song, it plays out like an existential realization of a journalist in the Middle East, possibly covering the Cedar Revolution. The final line of the song is a summation of our war hungry world and the ironic, lasting effect it has on people. It is delivered without music so that it resonates with the listener.

The album is par for the course that U2 has been charting since 2000’s All That You Can’t Leave Behind, following the debacle of 1997’s Pop, which knocked them down a peg in the eyes of the world. The album is consistent in song writing and production with its two predecessors – 2004’s How To Dismantle An Atomic Bomb and the aforementioned All That You Can’t Leave Behind. All three of which manage to incorporate the best elements of composition from the bands early career culminating with 1987’s Joshua Tree and their experimental phase in the 1990’s. It is clear that U2 is a band that has learned as much from their failures as they have their successes and now strive for perfection. B+

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.

Review: The Horse You Rode In On – Beating [2008]

Posted in Horse You Rode In On with tags on March 3, 2009 by gearsofrock

amazon-horse-you-rodeBy Peter O’Brien

Most bands who perpetually play the same songs for twenty years, and only do an annual “reunion” show would be accused, without question, of beating a dead horse, but most bands aren’t The Horse You Rode In On. Their aptly titled album, Beating, features fifteen original tracks written in the early days of their career during the late 1980’s and early 1990’s. The album was produced, mixed, mastered, and recorded by guitarist Lance McVickar at his studio, McVickar Productions in Piermont, NY and Audio Paint Studios in NYC. It began recording in February 2007 and was finally released November 22nd, 2008 at their twentieth anniversary reunion show.

Unfortunately the prestige of winning the “Best Unsigned Band” Award at the 1989 New York Music Awards didn’t constitute an actual record contract for The Horse to sign. The band persevered, getting airplay on NYC radio station K-ROCK and opening for national acts such as Alice in Chains and The Spin Doctors before officially calling it a day. Having endured a few line-up changes since its inception the band, as featured on the album, now consists of original members Chuck DeBruyn (Lead Vocals), Joel Finn (Bass), and Lance McVickar (Guitar) with Jim DeMaria replacing George Catania on the drums, and “The Blowing Chunks” horn section featuring Pete Bohovesky (Trumpet), John Rarrick (Trombone), and Max Rarrick (Saxophone).

The album starts with the crackling of a phonographic recording (a theme present throughout the album) and moves into the slow, sensuous, horn heavy song “Monkey Love.” This song introduces, among many of the bands other attributes, their unique lyrical sense of humor. DeBruyn’s vocals carry the melody of the song, which mocks a bluesy serenade that gradually builds into a classic pining track. The album then shifts into an up-tempo number, “I Like It Here,” which is a straightforward rock song. Songs like “I’m not myself tonight” showcase the scope of the band and their writing abilities, utilizing the horn section as well as harmonizing vocals provided by Finn and McVickar.

Typically by the third song of an album the band will have revealed most of their tricks and established their “sound,” or the boundaries in which they play. This is not the case with The Horse. They transcend seamlessly into many subtle genres. This is most prevalent on the track “Alice,” which takes a very experimental, psychedelic approach not exhibited elsewhere on the album. At the end of track eight, “House Alone,” another straightforward rock song reminiscent of the early ‘90’s, the listener is instructed to “turn your phonographic disc over to side two,” keeping with the theme established at the beginning of the disc.

Side Two, which is really just track nine, begins with the track “Bonehead,” a self-explanatory song that has and interesting vocal dynamic as DeBruyn trades off with Finn and McVickar’s harmonized vocals during the verses. In addition to his bluesy leads, guitarist Lance McVickar, also provides lead vocals to the track “Bombs,” which like “Alice” on side one veers the band down another direction not forecasted by the previous tracks.  It keeps the sound of the band fresh while making the following song, “Island of Misfit Toys,” an inviting return to their traditional, uplifting, rock sound. Another enjoyable excursion on side two is the substitution of DeMaria’s utlra-crisp drumming on “Different Type” for George Rigney different type. While DeMaria’s playing is able to exist both on its own as well as in the structure of the song, Rigney’s approach melds very well with the rhythmic playing of Finn.

Although they aren’t able to capture the experience and energy of their live show on “Beating” it does have a very consistent tone to it, albeit an experimental, refined one, displayed by several very talented musicians. This is clearly a work of passion for their love of music. The album was not made with the intent of, or desire to do anything more than entertain and be enjoyed by fans of music. Depending on the listener, the songs on “Beating” may seem dated, reminiscent, or refreshing, none of which makes them any less than the good, fun, rockin’ songs they were always intended to be when originally written. B+

Band: Chuck DeBruyn [Lead Vocals], Jim DeMaria [Drums], Joel Finn [Bass & Backing Vocals], Lance McVIckar [Guitar & Backing Vocals]; Featuring “The Blowing Chunks” on horns: Pete Bohovesky [Trumpet], John Rarrick [Trombone], and Max Rarrick [Sax].

Beating Track List:

  1. Monkey Love
  2. I Like It Here
  3. I’m Not Myself Tonight
  4. Take The Blame
  5. Alice
  6. Sunday
  7. The Package
  8. House Alone
  9. Bonehead
  10. You Want It
  11. Bombs
  12. Island of Misfit Toys
  13. Hunan Taste
  14. Different Type
  15. Dystopia

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.

Review: Zombie Zombie – A Land For Renegades [2008]

Posted in Zombie Zombie with tags , on February 10, 2009 by gearsofrock

amazon-zombie-zombieBy Peter O’Brien

If you have a penchant for experimental electronic compositions, synthetic film scores from the ‘70’s and ‘80’s, and 8-16 bit video game music, then it would be worth your while to check out Zombie Zombie. They are clearly pioneering a new sub genre of music that can only be classified as “Electro Murder.” The band is comprised of a French duo, Etienne Jaumet (Electronics/Keys/Synths) and CosmicNeman (Percussion/Voice), who have been creating music together since 2006 when they first released their self-titled EP. They followed this with a full-length album in 2008, entitled A Land For Renegades, released on LP February 22nd, and CD June 10th by Versatile Records.

The album has a very consistent feel to it, while not falling into the stale rut of most electronic music. There is no thumping bass or classic rock samples in these compositions. The foundation of each song is an actual drum track played along to the accompanying sounds, as opposed to a drum machine, which has performance limitations. There are two consistent variables that make Zombie Zombie stand out and those are the members/musicians. Each song is unique and distinguishable from the rest. The best way to describe the overall vibe generated by Zombie Zombie is to imagine if John Carpenter had written and performed the score for the film TRON. Zombie Zombie makes no mystery out of their intent; they want to evoke a sense of horror and fear in the listener using nothing but sound and rhythm.

The album begins with a very Carpenteresque track entitled “Driving this road until death sets you free.” The steady rhythm of this track guides the listener through a chilling auditory assault that gradually builds into a sonic tapestry of horror. It is a good opener for the album, as well as a good introduction of the band for first time listeners. As that track winds down it segues into the next, “I’m afraid of what’s there.” This track further explores the haunting intentions of the band by incorporating an eerie vocal track that is reminiscent of a ghostly echo warning someone why they died.

The album then shifts gears into the more upbeat title track, “A land for renegades.” This song sounds as though it is set to a post-apocalyptic prison break. At nearly nine and half minutes it has many escalating movements that keep the underlining energy driving. One can almost envision an urban landscape over run with midnight warriors pursuing a lone gunslinger while this song plays in the background. From there the album takes a subdued, ambient turn with “What’s happening in the city?” One of the few tracks with vocals, they are quite cryptic and read more like a public service announcement that primes for a Zombie onslaught, and only make sense in the context of its title.

The songs on “A Land For Renegades” are arranged in a fluctuating order, which continually keeps the listener off balance. This contrast enables the album to further explore the theme of unspeakable horror, and the delusional, frantic nature experienced by characters in a horrific situations. Tracks like “Before Night Falls,” could easily be placed on the soundtrack for one of George Romero’s “Living Dead” epics. Its up-tempo rhythm, coupled with a creepy, tranquil melody, really captures the urgency of a fatal pursuit. This is balanced by more mellow tracks like “Texas Rangers,” which has a clear, gradual progression to its structure. In the overall horror movie theme generated by these songs, this track exhibits the point where the lunatic/creatures are on the prowl. At different points in the song you can even hear the sounds of unknown slurping and feasting mixed into the layers of this composition.

An interesting addition to this album is a cover of Iggy Pop’s ultra sedated song, “Nightclubbing.” This rapid paced rendition of Pop’s classic is nothing like his original heroine paced version. Zombie Zombie seem to take that version, inject it with speed and hook it up to a row of car batteries. The track incorporates all of the vocal characteristics Neman has displayed on the album so far. He speaks the lyrics in his French accent, breaths heavily to the rhythm in between verses, and slowly escalates to frantic howling and screaming of the title by the end of the tune.

The album concludes with yet another exercise in vocalized terror, the track “When I scream you scream.” One could imagine that this song is based around a sing along concept, and probably goes over very well at their live shows. Thirty-five seconds after the song ends a secret track begins. It is the only completely electronic track on the entire album; no drums, and no vocals. In that respect it is very reminiscent of synthetic, new wave music from the 1980’s.

The bands retro-sonic feel is surprisingly refreshing in today’s overly recycled pop graveyard. At times even a complex instrument like the guitar can become stale and mundane if not approached properly. The eclectic music fan will truly appreciate all that Zombie Zombie has to offer, and depending on their taste will enjoy where they’re coming from creatively. The cross pollination of genre, themes, and expression makes Zombie Zombie an aural delight of frightening images.

Be sure to check out Peter O’Brien’s thrash metal documentary “Riphouse 151: Could’ve Been’s & Wanna Be’s” which is currently on the festival circuit.