Quadruple Metal ReviewWritten by Ryan at ZIA RECORDS Speedway

Orphaned Land " The Never Ending Way of Orwarrior"

Don't let the front cover of this record fool you. It is different, that's for sure, but what is contained within is valuable. If you have seen the Global Metal documentary, then you may be a little familiar with this band, but their music has more to it than you see in that film, as evidenced by their new record.
Eclectic is the keyword to describe this new album by the Israeli death/prog/folk metal outfit. All you have to do is look at the booklet and see how many musicians performed on the recording to get a feel for what the listening experience will be like. It is an expansive, multi-faceted piece of music that sounds meticulously crafted. The songs segue seamlessly between not only genres but languages. There are lyrics in three different languages: English, Hebrew, and Arabic. The diversity of the music and lyrics and how they are written is a big breath of fresh air in the metal world. Sure, there are other bands who use Eastern/Oriental scales in their music, or center their metal on a core of folk (see Finntroll or Korpiklaani), but Orphaned Land does it in a way all their own. An aspect that stands out for this listener are the transitions from parts full of traditional Hebrew chanting and instrumentation to death metal riffing. The lead vocalist, Kobi Farhi, has an interesting growling voice that is reminiscent of Jeff Walker in the late era of Carcass. Some of the clean, mellower parts might remind you of Opeth, the music conveys mood and atmosphere very well. The record is also nicely recorded and was mixed by Steven Wilson. Overall, if you are looking for something a little different in your metal, get your feet wet with this album. It's epic and refreshing.

Grind Madness At The BBC- The Earache Peel Sessions


This three CD collection is a holy relic of grindcore. Napalm Death, Carcass, Bolt Thrower, Extreme Noise Terror, Godflesh, Unseen Terror, Heresy, and Intense Degree, all progenitors of the genre, together on one collection. Recorded between the mid 80s and 1990 for John Peel's show, this collection of material is simply awesome to listen to as is shows these bands in their formative years and where most of today's extreme music can be traced back to. The recording quality varies throughout the different sessions, but in most cases, these recordings are superior in quality to the recordings these bands made for their albums of that time period, as many of them didn't have the cash or equipment in those early days to work with. The grit and frantic energy in all of these sessions if awesome, especially on the Napalm Death tracks. The bands were young and pushing the envelope of heavy music. In total, you get a total of 118 tracks across the sessions of the 8 bands. The liner notes, which consist of an interview with Mick Harris from Napalm Death (also a member of Extreme Noise Terror and Unseen Terror), are excellent as well. He describes how Napalm Death was just having fun and playing the music that they wanted to play, and weren't conscious of the impact they would have on extreme music at the time, that there were no plans for what things should be, just a young band doing their thing. There are parts in the interview going over how the recording engineer at the BBC didn't understand what the band were doing with the blast beats and crazy vocal styles, and it really illustrates how Napalm Death were ahead of their time. This collection truly is a great glimpse into heavy music history and recommended not only to grindcore fans, but those who are also interested in how extreme music, as it is known today, came to be.

Fear Factory "Mechanize"


Hands down, the best album Fear Factory has made since Demanufacture. This record is stripped down to the bones, with just a touch of the electronics and keyboards heard on past albums, and a result, it sounds more organic. Sounding like a much younger band, many of the songs move at a furious tempo and pummel you with the machine like precision the band is known for, but thrown out are the bloated song structures that plagued a lot of the material on albums like Obsolete or their lowest point, Transgression. The mighty Gene Hoglan's drumming is without a doubt a big part of this album. To put it bluntly, he makes former drummer Raymond Herrera look like an amateur. His aggressive attack, fills, and pedal work are notches above the drumming on all other Fear Factory records. Dino and Burton also deliver some of their best performances in years. Dino's guitar riffs are crushingly brutal, and there are even some guitar solos scattered through the record, not something to be found on most of this band's records. Burton's vocals are absolutely pissed off and sincere. He has always been a singer with a lot of variation in the ways he delivers lines, but on this album he pushes the intensity to new heights. The cleanly sung parts are huge and compliment the roaring parts nicely. For all the legal drama with the two former members who insist they never actually left the band, this record is evidence of who the real voice of the band is and will continue to be. So, it's good to have this band rediscovering their sound and it will be interesting to see where they go from this record. Some of this album's standout tracks are "Fear Campaign", "Christploitation", and "Designing The Enemy". The special edition has a bonus track of a re-recorded version of "Crash Test" from the band's first album, Soul Of A New Machine, which is a killer re-do, showcasing the band's early death metal roots melded with their present sound. You also get three tracks of the band's 1991 demo, which are nothing special other than to show where they started so many years ago.

High On Fire "Snakes For The Divine"

Okay, Greg Fidelman should stop producing records. The same guys that gave Slayer's latest record a botched mix produced this new album by High On Fire. However, the strength of the material in High on Fire's case is able to rise above the production, and in some cases, songs are strangely enhanced by the dirty sound. The biggest problem here is that there is a whole lot of low end and guitar that overpowers the drums and a lack of decent treble, but once you listen to the album a few times, you can ignore this and concentrate on pumping your fist in the air to the badass tunes. Matt Pike is already a legend because of Sleep, but this band will only add to that as the years go by. He once again delivers a basketful of unique and gargantuan riffs, inventive solos, and a voice that still sounds like the angry pirate-gypsy version of Lemmy from Motorhead, while roaring about fire spitters and frost hammers. That being said lets not forget about the other two band members who have a lot of talent, but don't always get the same attention as Pike. Bassist Jeff Mattz and drummer Des Kensel form an impressive rhythm section that combine with Pike's playing to form a truly unholy trio of power. See this band live and you are in for a treat, they are raw and without gimmicks. This listener can't wait to hear these tracks live, especially the doom soaked power of "Bastard Samurai". The main riff in this song is like watching a mountain collapse into dust, it's that heavy. Other tracks like "Frost Hammer" and "Fire, Flood, and Plague" pick up the speed and go for your throat, and "How Dark We Pray" is a rhythmic trance as heavy as anything Neurosis has ever done. There it is, but words don't necessarily do this band justice, you've got to listen to it for yourself. This listener ranks this album as the best of this year so far, despite the production. Yep, the songs are just that good. Be careful not to blow your speakers!

The Thing That Should Not Be: “For Fans Of…” Stickers On Metal Records!Written by Ryan at ZIA RECORDS Speedway

Marketing is a vital tool to get the word out on your product or service, but sometimes it’s just plain deceptive, especially in the music business. When it comes to these stickers that say “For Fans of…” that adorn the face of many a Metal record, there’s something awry. Many record labels put these large and obnoxious stickers on their releases to grab your attention and attempt to convince you that the contents of said record are worthy. The truth it, most of them are very misleading and a bunch of empty hype. Through the last few years, I have kept my eye on the evolution of this kind of marketing and have discovered several things.



First, what the stickers tell you generally correlates to the prevailing trend of the day in Metal. If thrash is in revival, then some of these stickers will say “For Fans of Testament and Kreator”, if death Metal is ascendant, than you might get the “For Fans of Morbid Angel and Nile” line. The problem here is that two records, by two different bands can have these two different stickers on the packaging, but BOTH play the same tired melodic death chugga breakdown core. How do they get away with this? Well, one band might play a little faster than the other, so automatically, I guess that means Morbid Angel and Nile fans might like it. It’s just very deceptive to put these divergent recommendations on two records that sound pretty much the same.



Another truth I have discovered on this quest is that sometimes the recommendations on those stickers are telling you “For Fans of Dillinger Escape Plan” or “For Fans of Pantera”, because the bands’ records are BLATANT rip offs of the artist they name drop. A good example of a recent, shameful copycat is a band called Sign Of The Southern Cross, and I think you begin to see my point just with the band name, before I even get to their music. Unoriginality is king! Anyway, this band’s album comes with a sticker stating “For Fans of Down and Pantera”. They sound exactly like those two bands, even going so far as having vocals imitating to the tee Phil Anselmo (singer of both Down and Pantera). If I was a member of either of these two groups, I would be calling up this band to tell them cease and desist. It goes on and on. I have sat online for hours listening to audio samples of bands whose physical albums come with these recommendation stickers. Most just don’t add up to being a good recommendation.

Now, in the end, this is all my opinion, but trying to be objective as possible, I just can’t see why these comparisons are made 90% of the time. There isn’t a happy medium, just extremes. Either they get it wrong or the band is a rip off. There is generally one exception to my findings though, and that is the recommendations you find on Relapse Records releases.



First of all, they don’t have gigantic stickers screaming this at you. Most Relapse releases come with a little cardboard cutout that runs along the top of their CDs that sometimes come with recommendations. This label ends up pretty well rounded and I can totally see why they make the recommendations that they do. I also believe that Relapse cares a bit more for how their releases appear and they definitely have been a leader in putting out some of the best heavy music on earth over the years, regardless of trends. At least they don’t make ridiculous statements like a little label known as Victory. They take album stickers to a new low. There is a sticker on one of their recent releases stating that it’s from “The World’s Heaviest Band.” Okay, so where did you get this formula for calculating heavy? Its utter rubbish and you should take it back. Stop embarrassing your label! Seriously, I can probably take that CD to one hundred Metal fans and almost all of them will laugh at the claim, and I would probably get almost one hundred different responses about who really is the heaviest band. Once again, it comes down to opinion. We can go around in circles until the sun explodes.

So, what’s the moral of the story? Be careful and do your research about Metal records that come with these recommendation stickers. Almost every artist has at least a MySpace page with audio samples, and failing that, you can go to any of the online retailers to check out samples. There’s something better than either of the above though: Talk to your local record store worker who knows their Metal, they are exposed to a lot of this music and aren’t some label just trying to sell you something. They can give you some good recommendations and form a better relationship of trust than a sticker. Besides, why spend $10 on a MP3 download that sounds like crap, when your local store might have a used copy of the record with it’s artwork that you can hold in your hand for only $8? Plus you get to interact with someone who genuinely cares about this music and wants to share that knowledge with you, fan to fan. I don’t want to see someone buy a CD based on a recommendation sticker and feel cheated when it doesn’t live up to the hype. I want to see someone discover a band or style they haven’t heard that they can rock out to.

We, the Metal head record store employees of the world, are out here, waiting to help you shred.

“It’s the Stimulus Package...Now Throw Your Hands UP!”Album review by Zak at ZIA

I just finished listening to the “The Stimulus Package” by Freeway and Jake One. Amazing Hip Hop! It comes out on 2/16/10 and is defiantly deserving of your attention.

First off the packaging alone is incredible. It looks like a wrap of over sized bills with lyrics and linear notes printed on it. Once you pull the bills out it reveals a wallet underneath. Inside the wallet is the cd and “F&J Credit Card” with the codes for downloads of the Jake’s instrumentals. I think the idea is , you put the bills in the wallet.



Originally signed to Roc –A-Fella , Freeway is releasing this CD through Rhymesayers. A perfect combo of beats and lyrics. Freeway’s rhymes are anthemic and tight. On the disc he spits with a couple of other MC’s like Beanie Sigel, Raekwon, Birdman (Great Track!) and the legendary Bun B (UGK)! My favorite quote on record is on Freeway on Microphone Killer – “Find Em All, Line Up, Pick Em Up. You Say They The Sickest Mouth, No Doubt, Grind Em Up , Kick Em Out” sick! Another stand-out is the first track “Stimulus Intro” which features Freeway’s friend from high school Beanie Sigel. Freeway’s flow is both relaxed and urgent at the same time (if that makes sense). That’s the only way I can describe it!



Ex-Record store employee turned amazing hip hop producer Jake One is responsible for the beats on this record. Jake One who was previously under the G-Unit banner released his first self titled release “White Van Music” in late 2008 on Rhymsayers. It’s a great record featuring De La, Doom, Slug and many others. Production on Stimulus is top notch. It has that “big dollar” feel as far as quality and genuine attention to detail that maintains credibility. There are no “phoned in” tracks. A true craftsman at work.

Pick up “The Stimulus Package” and up your personal Gross Sonic Domestic Product. Corny as shit I know but it truly is a great record! I know you web haters will say “look at Zak hyping up Rhymesayers again” well I support those who support Zia! Rhymesayers always have Indie Store’s back and therefore Zia has there’s.

"STILL FALLS THE RAIN: 40 Years of Black Sabbath and Heavy Metal"Elaborated upon by C-RON from ZIA Records Chandler

Apology: I may be posting this blog a bit too quickly after my last one. Again, it is about metal. If there is anyone in the chain that could easily make Zia look like an unhip metal haven through these blogs, it is probably me. For those of you who despise heavy metal, I can assure you that employees similar to myself are definitely in the minority here. Please do not let my/our enthusiastic fixation taint your opinion of Zia Records as a whole, as we are very much an indie entity.

True feelings: Now that I have said as much, I would like to tell you to bite it, because it is time for me to gush unashamedly about something metal. Scroll past if you must, but this one is important.

There is an anniversary approaching, and it is a big deal. On February 13, in 1970 (specifically Friday the 13th), a certain group from Birmingham released their first album. That band was the one and only Black @!#*$&%!-ing Sabbath, and come this Saturday, that eponymously-titled record reaches its fortieth birthday. And there’s more: since this disc is considered by many (definitely including myself) to be the first REAL heavy metal album, the 13th also represents the fortieth anniversary of the genre (at least as a recorded and released style of music).



Maybe you would want to argue with me about this. Maybe you would want to throw acts such as The Kinks, Blue Cheer, Steppenwolf, Deep Purple or Led Zeppelin in my face. Good bands, but please, just shut the hell up, because you know damn well what I’m talking about. If you don’t, then put on Sabbath’s first record and listen…

The album begins with the sound of rainfall and thunder, with a bell tolling in the background. Before any music appears, the record already sounds creepy. Then, the riff comes in. It is slow, it is simple and it is LOUD! More than anything else, the guitar riff to the song “Black Sabbath” is unquestionably evil, distorted and startling as all hell, which absolutely fits a song that is absolutely about just that. It isn’t too long before you hear the ominous, unmistakable vocals of one Mr. “Ossie” Osbourne: “Satan’s sitting there/He’s smiling/Watch as those flames get higher and higher.” This song scared the living shit out of me when I was a kid. When I heard the near ten-minute version of the song when I was an adult, it scared the shit out of me again (“Child cries out for its mother/Mother’s screaming in the fire”). I can only imagine what it must have been like to hear it back in 1970.



After the first cut, the lyrics switch from Satan to Gandalf in the song “The Wizard”, which brightens the album’s mood somewhat, but is still pretty heavy (even with that harmonica, which always reminds me of Barkley from Sesame Street). Side one finishes off with the combination of the Lovecraft-inspired “Behind the Wall of Sleep” and the classic, resonant, “Lucifer loves you” jam “N.I.B.” (presented as one track with intros on the American version).

The second side of the British LP began with “Evil Woman” (a cover by the group Crow), which had been Black Sabbath’s first single. Tony Iommi’s guitar definitely lends a bit of crunch to the song, but it is still a more accessible song than the other material on the album. Warner Brothers would replace this track for the American record with the darker cut “Wicked World”, which contains lyrics that are more topical than anything else on the album (a bit of a predecessor to songs such as “War Pigs” and “Electric Funeral” from the band’s follow-up release). The group then wraps things up with the lengthy combination of “Sleeping Village” and Aynsley Dunbar’s (yep) “Warning” (“A Bit of Finger/Sleeping Village/Warning” in the States).



The band didn’t know if they would ever get a chance to make another record, so they just went ahead and made one that they would enjoy, recording a disc that resembled their live shows. In fact, they only had two days to record and mix the album, so it was recorded live in the studio. In the end, they crafted something pretty unique. There was not a single record that sounded like this one before this one. There was not a single group that sounded like this one before this one. Not Iron Butterfly. Not The Crazy World Of Arthur Brown. Not Coven. Nobody.

Things could have been quite different, though. Iommi had sliced off the tips of two fingers while cutting sheet metal when he was younger, causing him to consider giving up music (he was turned onto Django Reinhardt and encouraged not to give up, which led to him fashioning prosthetic fingertips for himself, as well as to down-tuning his guitar). When Iommi, Osbourne, bassist Geezer Butler and drummer Bill Ward first began playing collectively, it was as a British blues band, with a saxophonist and a slide guitarist (they luckily trimmed down to a four-piece). Iommi bailed out of the group to replace future Blodwyn Pig Mick Abrahams in Jethro Tull (his stint in the band was very short-lived). After Iommi’s return and subsequent whip-cracking, the band, which was called Earth at the time, discovered that there was another act with the same name (which, fortunately, prompted the moniker-switch to the better-suited Black Sabbath, which was inspired by the title of the Mario Bava film). We are extremely lucky that things turned out in the ways that they did.



Many groups would follow in the footsteps of contemporaries such as Led Zeppelin and Deep Purple, but the bands that were gripped by and emulative of Sabbath early on were usually doomed to obscurity (I’d suggest looking into them, especially in regards to Pentagram). Considering the level of contempt that critics have for this stuff, it should be no surprise just how much vitriol was directed towards this act, but the bitching was clearly irrelevant when the Priests and Maidens came along and made it clear that Sabbath were the alchemists. Come the mid-1980s, doom metal bands would proudly wear the group’s influence on their sleeves, emphasizing heaviness and mood, standing in contrast to the faster, more aggressive bands of the day (who were generally influenced by Sabbath, as well). Clearly, no guitarist had a tone and style more relevant to the creation of the heavy metal sound than Tony Iommi, and while that reality show may have caused you to forget just how unnerving and singular Ozzy really was, HE REALLY WAS! I want you to remember or to learn. By Saturday.

I’ve been into this music long enough to know that a strong opinion, even when accurate, can be countered with further strong opinion. Even if you don’t agree with me as to the birthdate of heavy metal, you should recognize the importance of this upcoming anniversary in regards to this group. At the slightest, it is definitely something to raise a glass with your friends about (and if we are in agreement, then it’s quite a significant double b-day, all the merrier for us). Cheers!

Thank You, Jay Reatard....For EverythingWritten by Eddie at ZIA RECORDS Sahara

Jay "Reatard" Lindsey. A name some might soon find synonymous with Jim Morrison or Elliot Smith. His sudden and untimely death has placed a seal of originality on the twenty something albums he recorded in his short 29 year life. Serving as everything from a punk rock revivalist, to a pop anti-hero, Jay's albums leave a solid staple on every genre he attempted. He wasnt your overnight rock sensation, and he wasnt your protege. He was a pissed off kid from Memphis that knew if he put enough of himself into his music, that at the end of the day, that was good enough.

Starting off with an angry childhood and growing up in the slums of Memphis, where Elvis had set a permanent example of what music from Tennesse should sound like, Jay began recording albums by himself in his parents' garage on a four-track tape recorder. Often times playing a five string guitar, a drumkit made of pickle drums, chains and pots, and doing all vocals himself, Jay managed to record a punk rock album with such originality and seriousness that members of a local punk legend band, The Oblivians, took notice and decided to give Jay a chance.



What followed was a musical career that leaves most recording artists feeling crippled and lazy. Jay's first outfit, The Reatards, showed people that punk wasnt dead. In fact, punk rock was madder than hell and Jay was the proof. They'd perform twenty song sets in less than fifteen minutes, often times with an under age Lindsey singing with the mic in one hand and a beer in the other, spilling it on the more than willing crowd. His legend of cancelled shows and strung out nights had began.



Lindsey began using the small credit he had gained with The Reatards to create other projects. Bands like Angry Angles, Destruction Unit, and The Final Solutions all had unique punk sounds, with Reatard playing everything from keyboard to drums, but nothing compared to what Jay himself felt was his best work, The Lost Sounds.



Part punk, part dance, all original, Lindsey formed this band with his then current girlfriend, Alicjia Trout. A sonic force of whirling synths, chaotic guitars, thunderous drums, and Lindsey and Trout's vocals tugging at eachother, The Lost Sounds were something new to punk for the first time in over ten years. The band toured viciously through Europe and made quite a name for themselves before their ugly seperation.

Lindsey didn't let it stop him though. He continued to record with his other projects, and sat back while the legend of his Reatard recordings gained popularity.

Finally Lindsey stepped into the studio alone. Playing all instruments himself during the recording process, Jay began recording for Matador and In the Red Records under his own stage name, Jay Reatard. He released numerous 7" inches and released a solo album entitled "Blood Visions". Part destructive punk attitude, part pop hooks, Lindsey's first solo album served as an example for what he was trying to create in its rawest form: Honest Music. He was no longer writing trying to stick to a genre or trying to classify himself. He had simply reverted back to what he was; a pissed off kid who knew only one way to say it, his way.



The album garnished him small underground success. Artists like The Pixies and Beck started to express a keen love for Lindsey's music. He would soon open for the former and record a b-side for the latter. A series of 7" inches would soon follow and two single collection albums. Although Jay had started to record himself, he had not slowed down a bit. Recruiting a picture perfect backing band for himself, Jay Reatard began touring exstensively and his legend grew further.

Hyper sets with face punches and kicks followed and even assault on fellow band members started to fuel the awful personality reputation Lindsey had already started to gain for himself. All the while being commented on frequently by music magazines and blogs. He might have been a jerk, but his ability to slam an audience into sweat enduced euphoria preceded all other accusations. Soon, Lindsey's name was being constantly dropped and everyone was paying attention.



His final recording, 2009's Watch Me Fall, left people confused. For his hardcore followers, it felt like Lindsey had abandoned all his origins. For first time listners, it sounded like some odd mixture of the catchiest punk songs and the best parts of indie rock today. It was filled with relatable lyrics and crowd swaying choruses. It showed, that at almost thirty, Lindsey was going to play music the way he thought it shouldve sounded, and if everyone stopped listening then he'd kept playing it anyways.



To one fan, this fan, Jay Reatard served as an outlet. It was like the first time you heard Creedance Clearwater. You heard this music that made the most important part of your soul feel stimulated. The louder it got, the better it made you feel.

Bad day at work?
Screw it, put on Nightmares and it was gone.

Your girlfriend left you?
Who cares? Put on Hammer I Miss You and let it all slip away.

Nobody returned your calls?
Forget them. listen to Dead on Arrival and they all can go kick rocks.

Now, in a time without Jay Reatard, he will remind me that you werent too old to be so frustrated that you had to yell about it, and you were never to young to know that the world wasnt always right. His quiet passing while sleeping will not echo with the rest of his legend, but will remind me to speak loud enough to be heard while people can still hear me. And when the droves and droves of postholumous fans come rolling in, i won't mock them for jumping on the bandwagon late. I will thank them for not letting Jay Reatard be forgotten.

Thank you, Jay Reatard, for everything.
R.I.P.

Oh, it's such a shame!

The Godfathers of Gangster films ~ written by Sam at ZIA RECORDS Oracle

You guessed it. No movie deserves such a title in the gangster genre more than the Francis Ford Coppola trilogy, The Godfather. ‘The Godfather’ is a series of films that displays life through the mafia in the early 40s and 50s and was made based off of the book by Mario Puzo. The first time I caught eye to this trilogy, I was but 7 years old. In my brutal honesty, I will tell you I was unbelievably bored and if I’m not mistaken, I only made it through the first 20 minutes of part one (each part is nearly 3 hours long) before I decided to ditch my parents and go back to playing with my beast wars: transformers toys. 10 years later, I decide to take a film history class in my high school where I was forced to watch the trilogy to the end and have since found myself under ‘The Godfathers’ spell.



The Godfather is the series of films that brought into the spotlight the now famous actors, Al Pacino, James Caan, and Robert De Niro who plays only in the second part of the film as the flashback on the godfather from the first film played by Marlon Brando. Many say the film made Marlon Brando’s career bloom too, but I beg to differ since I am a strong believer his acting talent was spotlighted from his part in another great gangster film of the 50’s called ‘On the Waterfront.’ However, since that is irrelevant to the review I’m doing, I will transfer my topic back to The Godfather.



Now I don’t want to ruin the film for you so I will just say many suprises lurks around Michael who is played by Pacino and who is also the star in the trilogy. As far as his father (Brando, aka, the Godfather) is concerned, Michael will forever be free of the family business, and that’s just the way Michael likes it. Many things happen and twists take place around every corner in this series as well as treacherous acts that get corrected in many ways. To elaborate on the magnificence of this film is like trying to explain why you love someone. There is so much to it; it is complex to sum it all up into a small review. So the best I can do is “Make you an offer you can’t refuse.” Watch this trilogy or miss out on “one of the greatest films of all time” as imdb.com and many other websites describe the Godfather movies. Trust me; if you’re a person who appreciates symbolism, great acting, and great filming in a movie, you can’t go wrong with this trilogy. I recommend this film to any and everyone! Well, except the little ones. Save the less violent and much shorter ones for them.