Year : 2018
Style : Christian Heavy Metal , Hard Rock
Country : United States
Audio : 320 kbps + all scans
Size : 110 mb
Bio:
In 1983 Dale and Troy Thompson started a band named Matrix in Louisville, Kentucky. Matrix recorded four self-financed demos, which were distributed at live shows and through the mail via Contemporary Christian Music Magazine (CCM) and various fanzines of the day. Their ministry continued to grow in the Christian rock underground but it was not until 1986 that they managed to break into the mainstream. Opening for Daniel Band in Pottstown, Pennsylvania, Matrix caught the eye of the representatives of Refuge Records who were forming their subsidiary label Pure Metal.In the latter part of 1986, there were two events that occurred simultaneously that would ultimately be a major turning point for the band. It had been nearly six months since Refuge Records expressed serious interest in the band. In an effort to expedite an impending offer from Refuge, Dale and Troy mailed to the Refuge office all of the hundreds of letters from fans all across the United States. Additionally amid the growing popularity of the Ohio based secular Matrix, the decision was made to change the name Matrix to Bride. Shortly thereafter, Bride became the second band to be signed to the Refuge Records subsidiary label Pure Metal.In October 1986, Bride began work on the first album of a three album-recording contract. The three albums recorded for Refuge/Pure Metal were, Show No Mercy, Live To Die, and Silence Is Madness. In late 1990, Star Song Communications purchased Pure Metal Records. Bride believed that Star Song, a powerful force in the industry, could take them in directions never before possible. Not all of the former Pure Metal acts were retained. But Bride was immediately signed to a one-album contract to produce a Best of... project with two bonus tracks. "Everybody Knows My Name", would rapidly rise to the top of both the CCM and Pure Rock Report charts and occupy that #1 position for several months. Needless to say, Star Song went on to sign Bride to a multi-album contract.While their first Star Song release entitled "Best of Bride, End of the Age", signals the end of a chapter in Bride's history, it more importantly signals a new beginning in Bride's future. Bride went on to record 3 albums with Star Song - Kinetic Faith, Snakes In The Playground, and Scarecrow Messiah. Star Song even compiled another "best of" from these three albums and released it in 1995 under the name Shotgun Wedding. The 11 songs on Shotgun Wedding were the #1 radio hits that Bride had. During the four years that Bride worked with Star Song, they were awarded 4 DOVE awards, 11 #1 radio singles, and numerous awards from SESAC, their performing rights organization.Once Bride's contract with Star Song was over, they decided to sign a one album deal with a new independent label called Rugged Records. With this label, Bride recorded, what they felt, was a much-needed lighter sounding record - "Drop." Being a small independent label, Rugged did not have the resources or capabilities to exploit "Drop" to its potential. Additionally, Bride's ministry has become more focused and aggressive. As always, Bride's message goes out to anyone who will listen, but has been specifically targeted to reach the "misfits" of society. These "misfits", are those people that cannot be reached through conventional means. Bride's music also provides a source of strength and edification to those already a part of the body of Christ, by dealing with socially relevant issues from a biblical perspective in terms that everyone can understand.Bride left Rugged in pursuit of God's direction for the future. It was not long before another label sprang up on the horizon. Being encouraged by Producer and friend Dino Elefante Bride was courted by "Organic" records. "Organic" too was an independent label but had a lot of promise. Bride was soon back in the studio under a new recording agreement laying down fresh tracks under the producing direction of Dino and John Elefante and the result was "The Jesus Experience." "The Jesus Experience" modernized Bride's sound forever and the stigma of old style rock was shed for a more acceptable mainstream rock sound. This marked Bride's eighth full length recording. This record would also provided the touring fuel to send Bride out for 2 years on their most extensive tour schedule ever.Bride then released the second CD on "Organic" called "Oddities." With Dino, John and Bride as producers this ninth release "Oddities" marked another pinnacle in the evolution of Bride's sound and lyrical direction. This record was hard to achieve but the final result brought Bride into a refreshed anointing. Bride became the clay in God's hands during the song writing and recording of this record and the resolve is there is no resolve, it is another new beginning.As time came for Bride's 3rd project with Organic Records Bride learned that Organic was changing gears. Bride was not willing nor led by the Holy Spirit to change with them. Bride asked for a release from Organic and it was granted. This left Bride without an worldwide release for future projects. It was not long before long time band mates Jerry McBroom and Steve Curtsinger were drawn away from Bride into other projects. The dilemma would have been devastating if God had not been orchestrating all of the moves and changes. The Lord soon rebuilt the band bringing Lawrence Bishop and Michael Loy into the band. The work began to write the next Bride CD but now without a record company whereby they could release it.There was much talk between the band members about a possible self-release and distribution. God was not finished with Bride and this was evident when Dez Dickerson, an acquaintance from the Star Song recording days (Snakes in the Playground A&R rep), emailed Dale out of the blue. Dez was now the head of his own record company, Absolute Records. After lengthy talks and meeting between Dez, Dale and Troy Bride and Absolute joined together in the next chapter to Bride's journey. Reuniting with Snakes in the Playground producer Plinky Giglio and under the inspiration of the Holy Spirit, Bride began the process of recording a brand new release with the most powerfully anointed songs and with a refreshing sound. The blend of metal and creative mixing has produced "Fist Full of Bees" the Absolute pinnacle in Bride's lengthy ministry.Bride went on to record This is it which most fans believed was a farewell CD. Because after releasing it to the public Bride seemed to have vanished from the planet.But now Bride has re-emerged with their most intense release to date. Skin for Skin takes the band forward with a writing maturity never seen on previous CD’s and yet the raw power of METAL again! Skin for Skin was written over a 6 month period of time as Bride searched for a drummer. It was simply crazy how the CD came together in the studio says Dale. Everything that Troy and I had written just started falling into place and something incredibly special happened to make us realize that what we were hearing back through play-back was a monstrous CD.Bride now expects to tour Brazil and Europe as soon as Skin for Skin is released. There is a Bride Street team now cutting a path for the band and soon you will hear these new songs on your local hard rock radio program. Bride never went away, they just re-loaded.Bride will tour and stay the course that God has ordained for them. Bride's vision for the future is to awaken those who sleep to the revelation of Jesus Christ that God will receive the glory. Bride will be traveling throughout the United States, Brazil, Europe, and Scandinavia with a consistent message. This message can be summed up quite simply in a quote that Dale made in the early days of Matrix which still rings true today in the growing ministry of Bride. "If it wasn't for Jesus Christ, we wouldn't be playing music. He is the music. He is why we play".
Album:
As reputed, Snake Eyes, the summer of 2018 comeback album of Christian metal and hard rock veterans Bride, represents a return to the blues based hard rock style of its highly regarded 1992 release Snakes In The Playground, but is it also a return to the groups prime Snakes… form? Hence, the question this review attempts to answer. Tracing its inception to the early eighties when founded by American guitarist Troy Thompson and brother and New Zealand based vocalist Dale Thompson, Bride announced in 2013 what was to be its fourteenth and final studio album in Incorruptible. That, however, proved a misnomer in that the international four-piece, also including the Brazilian rhythm section of bassist Nenel Lucena and drummer Alexandre Aposan, returned out of retirement to create a work in Snake Eyes that confirms it has not lost a step musically and still possesses plenty of gas in the proverbial creative tank.Snake Eyes leaves little doubt as to how it revisits Snakes… like musically territory to a very high degree but that would only be telling part of the story in that the group’s musical background also cannot help but come into play, although to not quite the same extent. You will find on Snake Eyes, for instance, the raw intensity to This Is It as well as a consistency and refinement speaking of Scarecrow Messiah, but do not discount any influences of Drop, The Jesus Experience and Skin For Skin that while understated in comparison make their presence felt nonetheless.Those still on the fence as to whether Bride is returning to its Snakes… roots need look no further than opening vocal cuts “Fake News” and “Famous When I’m Dead”. Former begins to snarling Bride style rhythm guitars prior to launching at once into its larger than life hook driven refrain: ‘Fake news is propaganda. Burn, burn, you’re gonna burn’. Rumbling bass, courtesy of Brazil’s Nenel Lucena, impels the slicing scene until a breakdown at the mid-point to feature Dale’s spoken word delivery. Troy provides the bluesy soloing to close out the final seconds.Also classic Bride, “Famous When I’m Dead” hits even harder at the faster tempo in taking the passion and emotion to further heights. An almost biting if not sarcastic demeanor presents itself, as found in the refrain to repeat the songs title in brusque fashion, but also without turning repetitious in that similar elevated hooks assert themselves. The cowbell in the backdrop attributes to timekeeper Alexandre Aposan (also Brazil).Characteristic to the two are Dale’s trademark raw and gritty blues soaked vocal abilities, which (as always) mesh well with the groups straight on hard rock leanings. It is refreshing to know he has not lost anything over the years.“John The Baptist”, of which the group recorded a lyric video, represents albums lone potential misstep, which is saying a lot in that it is a very fine song- or more specifically speaks better for the brilliance of the material surrounding it. Musically, it takes a more melodic heading compared to its predecessors, with a tempered guitar opening prior to joining equal parts lighters, to feature guitars of a reserved nature, and heavier, to find slamming guitars commanding the mix.Bride returns to its heaviest best on “Think I’ll Build The Bomb”, a stout mid-paced track that mauls from the get go to irascible verse sections (of a bass heavy form) and churlish refrain that has impassioned written all over it (curtly done but engaging all the same). Instrumental moments contrast with a gentler feel as melodic harmonies hold sway, as does the passage to ensue to uphold an almost pop basis.“The Real Jesus” is also top of the line. With clashing symbols and bass solo to start, the song grinds ahead in scratchy fashion to a slamming rhythm section - producing an overpowering effect similar to that of “Kiss the Train” (off Kinetic Faith from 1991) - while upholding a riveting energy that suggests of a youthful presence. Troy once more turns the ending moments into a bluesy guitar shred fest.My Snake Eyes favorite might be its most melodic, “Lost In A Song”. Featuring one of the most immediately recognizable melodies in a Bride number since “Everybody Knows My Name” (also Kinetic Faith), “Lost In A Song” touches upon the type of commercial traits that would lend to radio play, that is if given the chance. It otherwise comes across mirthful and uplifted but also does not forsake heaviness, as found in how the instrumental passage morphs into some thrash like riffs at the end.The second song of which Bride recorded a video, “Laughter Of It All” points towards the bottom heavy, dramatic and just plain menacing. With a curt drum solo opening, the song plows ahead to metal edged guitars that slam in and out of the mix (and hint of classic Snakes… track “Would You Die For Me” in the process) as Dale sings at his snarling and raspy best and helps place it among the albums most formidable.“The Painter” separates as a showstopper also ranking with the Snake Eyes finest. It is another melodic based cut along the lines of “Lost In A Song” but more consistently heavy, with victorious moments upheld by riffs of an anthem-like faculty and others that temper to acoustic guitar that hearkens back to Drop. The smooth closing instrumental moments cannot help but align with the bluesy signatures at hand.An expansive and driving hard rock meets metal cut, “Call Out His Name” returns Snake Eyes to its full on heavier ways to a dominant rhythm section and guitar riffs that reveal an almost stoner-doom-groove impression. No, this one might not be catchy as some here but its overriding power and persuasive form serve to put it over the top, or at the very least avoid the pitfall of repetition.“Other Side Of Suicide” preserves the assertive focus but in a more up-tempo air, as screaming guitar feedback at the start gives way to brimming guitar walls, impelling the hard charging verse sections, and overriding sense of groove, defining one of the albums catchier refrains. Interestingly, the distorted vocals at a minute and a half in sound as if taken from The Jesus Experience, although there is no need for concern in that any modern flavorings end up quenched by the bristling guitar leads to ensue.I appreciate the instrumental emphasis on closer “There’s Always Tomorrow”, including the wonderful harmony leads propelling the first minute and every bit elegantly done interlude at the mid-point. In between, it proves another tireless track in the mode of “Call”, a very good thing I might add, but with occasional outbursts of metal edged riffs that point to Skin For Skin. Also similar to “Call”, impression is substantial but not overbearing at the same time.While it might not be fair to offer comparison to the big budget refinement producer Plinky brought to Snakes…, the Snake Eyes production more than holds its hone in making guitars the centerpiece to the mix while not overlooking key components in bass and drums. Likewise, packaging gets the job done with eye catching cover art in line with the album title theme, vintage band photos and easy to read lyrics and liner notes.On Snake Eyes, Bride leaves little doubt as to how it not so much has captured a Snakes… like blues driven hard rock sound but more accurately re-captures its prime Snakes… like form. It begins with songs in that while some stand out better than others do, each brings that unique or memorable trait to allow it to hold up on its own and separate itself from the rest. Also similar to Snakes… no chaff or filler. It also encompasses musicianship in that brothers Thompson remain at the top of their game, with Troy maintaining his blues based hard rock licks and chops penchant and Dale continuing to shine with his ever-charismatic vocal style. Whereas it is difficult to come up with anything constructive, I miss some of the acoustic to piano ballad moments to Snakes… in the form of “I Miss The Rain” and “Goodbye”, not to mention a customary guest appearance by Greg Martin (Kentucky Headhunters), whom graced Snakes… and This Is It. All in all, if a Bride fan, regardless of era or genre, or have been clamoring for a return to vintage Snakes… style and form sound, then make Snake Eyes an immediate purchase.
Line Up:
Dale Thompson - Vocals
Troy Thompson - Guitar
Steve Osbourne - Guitar
G.D. Watts - Bass
Lawrence Bishop - Bass
Jerry McBroom - Drums
Michael Loy - Drums
Tracklist:
01. Intro
02. Fake News
03. Famous When I’m Dead
04. John the Baptist
05. Think I’ll Build a Bomb
06. The Real Jesus
07. Lost In a Song
08. Laughter of It All
09. The Painter
10. Call
11. Suicide
12. There’s Always Tomorrow
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