Title - 'Blood & Sand'
Artist - Tang
Tang are a wickedly brilliant dual female-fronted Gothic metal band that kicks ass so well, so consistently, that their new album, Blood & Sand is already one of the hottest releases of 2015! Indeed, Bonnie Parker on Vocals and Bass and Denny Colt on Vocals, Lead Guitar and Keyboards, have been doing this together now, in their own inimitable style, since 1999.
Now together with Mark Edwards, formerly of Criss Angel and Burning Star on drums behind them, Tang's sound is definitely more melodic, if you will, than their debut Mental Pollution, but it still (for the most part) holds true to all-things Goth metal, that's for sure.
The album opens with the storming 'Crashing,' a track that showcases Bonnie Parker's vocals to the max, and is actually also featured in the new Fred Carpenter film, Charlie Mantle. The film debuted in the summer of 2014 and stars Armand Assante, Sean Young and Robert Funaro. Moving on and that is backed by the Goth guitar work from Denny Colt on 'Disgusted.' The "poppier" sounds of the duet 'Reign of Blood' is next, speed metal guitars and fervent drumming from Edwards inclusive, it also features Dee Snider from Twisted Sister. Funnily enough, Parker knew Dee from back when they both did the club circuit, and Colt knew him from her days in Van Helsing's Curse. Ergo, this track is a powerhaus cut and enhances the reputation of this brand new recording to no end.
The "ballad" 'Red Dust' comes next, and is backed by 'Holy Terror,' which just so happens to be my own personal favorite off this new album. It slows down the Goth metal roll and allows Parker's true, unscreamed vocals to shine through. Together with tuneful guitar riffs from Colt, the track might not be appreciated by their Goth fans, but it will definitely become a favorite go-to track here in this office! The stunning guitar work of Colt is once again brought forth in the longest track on the album (at over seven minutes) 'Isolation,' which is backed by the ethereal piano-fused 'Ashes.'
On 'The 11th Hour,' we once again get to hear the less-Goth power of Parker's vocals, and at the same that could actually be said of 'L.O.V.E. Machine.' Funnily enough, the longer this new album goes on the more melodic, hard rock it becomes! It honestly sounds as if the girls got all their anger, all their worldly frustrations out in the first half of the album, and with all that out of their systems, they then concentrated on a "lighter" version of their sound for the second half! Indeed, the album comes to a close with 'August Ends,' which only goes to prove my point even further, for the final track is a piano-driven, synth-laden, orchestral-sounding work of musical art.