American Idiot

High-Concept Brat Rock

A story headlined "New Rock Is Passé on Radio" in The New York Times arts section of April 28, 2005, noted that all across America, the big radio conglomerates were moving away from the "modern rock" genre, and abruptly flipping their formats to talk, urban music, or even classic rock.

The story featured rock industry types lamenting this demise, but from a musical standpoint it was long overdue. Ever since the wickedly smart 1994 Green Day album Dookie, released just before Nirvana's Kurt Cobain committed suicide, modern rock (also tagged "alternative" rock or "alt" rock) had been overrun by aggrieved boys. These artists (Creed, Blink 182, and others) seized on the bratty adenoidal whine of Green Day singer Billie Joe Armstrong but missed his accompanying wink, and as a result their self-obsessed musings mattered mainly to other adolescent males in similar alienated states.

With the barbed American Idiot, Green Day takes aim at all the self-indulgence that surrounds modern rock culture as well as the presidency of George W. Bush and the media. Armstrong is still wryly self-aware, but as he follows the character called "St. Jimmy" around a soulless suburban dystopia, there's palpable disgust in his voice. And alarm. He rants about consumer culture and the worship of false idols in severe tones; he talks about the search for "realness" in a way that makes you wonder whether anything is worth believing in. American Idiot catches the applecart-upsetting anarchy that fueled the first iteration of punk and the withering social critiques associated with the Who and the Clash, but it cushions those blows with addictive, diabolically hooky refrains. Green Day's jittery sing-alongs operate on several different levels at once: They're strident warnings about the fragile mental makeup of the disaffected American Everykid, and at the same time they sound like victory dances for those conniving enough to reach the upper echelons of Grand Theft Auto on the PlayStation.

Heavenly - Virus (2006)

Rockeyez has been dealing with Locomotive Records for sometime now and we really have not come across a release that kicked our ass until now.

HEAVENLY formerly SATAN’ S LAWYER is a band coming out of France has just release their fourth full-length release called “Virus” on Locomotive Records. The band started back in 1994, releasing their first demo “Coming from the Sky” in 1998 with three tracks and has gained interest in the power metal genre.

With their new CD “Virus,” the cover art gives the feel of “evil” I thought to myself “Aww shit! not another growling shit ass band that has no talent…” WRONG!!! Just looking at the cover, I would never have thought this band could be one that breaks barriers. HEAVENLY was a heavenly surprise to me and I am sure once fans get a hold and listen to this CD, you will be amazed.

Vocally, Ben Sotto is stunning and brings forth so many styles and memories such as Rob Halford, Michael Kiske - HELLOWEEN, Mark Slaughter and even Michael Sweet of STRYPER. The dual guitar work by Charley Corbiaux and Olivier Lapauze can be power metal kings and tear it up on the entire release. Ripping and shredding making a normal mortal’s head wobble with delight. Classical masters showing chops which are missing from many bands, yet in perfect sink with melodic catchy tunes. I mean these guys shred!!!

“The Dark Memories” is a good opening tune for metalers and when you reach track two “Spill Blood on Fire” which is the video off “Virus”http://www.youtube.com/watch?v=NfiZHPMrkK4 you will hear ecstasy. Sotto tinkers with your imagination and engulfs your body with his presences. AMAZING!!! True power metal classic, you will even get images of vintage STYX echoing the great harmonies.

Don’t for one minute think these guys are a bunch of prancing candy asses with no backbone. The title track “Virus” gives way to a KING DIAMOND glow and is a bit heavier, but the chorus and background vocals are gold. Check the guitar slashing on this one. HEAVENLY add some specials guests with the likes of Tanja - LULLACRY on "When the Rain begins to Fall" Kevin Codfert - ADAGIO on "Bravery in the Field" and Tony Kakko - SONATA ARCTICA on "Wasted Time" which makes these songs special.

You must hear the song “Bravery in the Field” you will a hint of QUEEN, could this be one of the influences of HEAVENLY. The most unusual track is “Rain Begins to Fall” which was originally sang by Jermaine Jackson & Pia Zadora. WHAT!!! Sotto starts things off with keyboard tapping but the highlight is how good the harmonies keeping the song enjoyable and the musicianship are excellent.

Ending the disc is “The prince of the world” which sucks because the Japanese get two extra tracks “The Joker” (Japan Bonus Track) and “Spill Blood on Fire” (Japanese version). But again HEAVENLY flashback to the QUEEN era once again, showing these guys are stardom bound. Pay the extra bucks and get the Japanese version just to get those two extra tracks it will be worth it, just to hear more.