2012-2014 Releases

Lynch Mob-Sun Red Sun

Lynch Mob “Sun Red Sun” is the bands 11th release and was written and recorded by the same line up as the “Sound Mountain Sessions” EP (Lynch/Logan/Crane/Coogan). “Sun Red Sun” once again highlights the unique pairing of Oni Logan & George Lynch and showcases their ever evolving songwriting abilities. Mixed & mastered by Chris “The Wizard” Collier” (Lynch Mob/Lita Ford/KXM), “Sun Red Sun” offers up straight forward rockers like “Believers of the Day” and “Play The Game”, as well as more groove-oriented cuts like “Erotika” and “Subliminal Dream”. The CD also features a dynamic George Lynch guitar solo track called “Black Waters” as well as an acoustic ballad called “Sun Red Sun”, which is a tribute to the late great Badlands singer Ray Gillen. The release also features a cover of Bad Company’s “Burnin’ Sky” and includes four re-mastered bonus tracks from the original Sound Mountain Sessions EP: “Slow Drag”, “World of Chance”, “City of Freedom” and “Sucka”! Official release date is Tuesday December 9th, 2014.

KXM

A new musical force to be reckoned with is about to turn the rock world upside down with the release of their self-titled debut, KXM. KXM is comprised of dUg Pinnick of King’s X on vocals/bass, George Lynch of Lynch Mob/Dokken on guitars and Korn’s drum maestro, Ray Luzier, rounds out the powerhouse trio. The band takes its name from the combination of the member’s other projects: K from Korn, X from King’s X and M from Lynch Mob.

The self-titled debut of KXM is something truly unique and special. The songs are powerful, precise, and transcend beyond the boundaries of the imagination.  In today’s overpopulated music arena, true gems become harder and harder to find, but KXM’s unified vision rises above the normal and creates its own space. From the opening drum riff of “Stars” to the final chord on “Human Friction,” KXM is an album that is sure to resonate with fans from the band’s original projects, while garnering new ones as well. Songs like “Gun Fight,” “Faith Is A Room” and the first single “Rescue Me” are sure to be instant favorites among fans. The band shows their softer side on the ballad “Never Stop” along with their dark side on the tale of domestic violence, “Sleep.”

KXM formed in early 2013 when dUg, George and Ray spoke about trying to jam together. At the time it wasn’t clear what would come from those jams. The only thing that was clear was that these 3 musicians, at the top of their game, wanted to play together. The self-titled debut, KXM, was born from those jam sessions and is now an important piece in each band member’s musical legacy. In a world that constantly searches for new and unique music, KXM delivers all the power and punch that one would expect from these high level players!  Official release date is set for March 11, 2014

Lynch Mob-Live from Sugar Hill Studios

Space-rocking Lynch Mob oldies sound vividly intimate on this EP, managing to avoid the OTT pathos which usually infects most rock anthems when performed unplugged. Laid back but focused, the band projects a warm-hearted feel without overcompensating for sonic transparency with exaggerated inflection. Oni Logan’s vocals sound gutsy and poignant, but tastefully balanced with the other instruments, and bare-bones sparsity of Lynch’s guitar shows both bite and poise.

The energy is compelling: conveying a grown-up, but at the same time romantic vibe, it brings to mind the image of weathered hunters gathering in front of a fire with guitars after a day of prowling the wilderness. Fantasies aside, all this was recorded not outdoors, but at Sugar Hill Studios in Houston, Texas. Which proves yet again that real artists can create a vibe anywhere they choose.

The entire performance was filmed by producer Ross W. Wells (Zen Film) for an upcoming episode of “Live from Sugar Hill Studios.” A preview on YouTube shows musicians in top form giving old material a newly found edge. And as with all great rock music, these songs not only withstands the confines of a stripped-down acoustic setting, but show us why this format to this day remains so important.

-Alissa Ordabai, HardRockHaven.net

Lynch Mob-Sound Mountain Sessions

Lynch Mob follows up its 2009 studio album Smoke and Mirrors with this year’s EP release, titled Sound Mountain Sessions. George Lynch continues his renewed partnership with vocalist Oni Logan. Scott Coogan returns to man the drums, and Robbie Crane takes over as the band’s bassist. The EP was recorded at Sound Mountain Studios in California over the course of one week with engineer Chris “The Wizard” Collier.

Sound Mountain Sessions is a continuation of the band’s signature sound that was founded back on 1991’s Wicked Sensation. The music is gritty, bluesy, hard rock and infused with Lynch’s use of exotic scales and legato phrasing, which provides the perfect springboard for Logan’s vocals and lyrical jaunts. While the EP features only four new songs, it is a more satisfying listen than George Lynch’s recent instrumental EP titled Legacy.

As a follow up to Smoke and MirrorsSound Mountain Sessions maintains the same continuity, and the songs sound like they could have been on the ’09 studio album. Even though the album’s production is crisp and energized, the grit of Logan’s voice and snarl of Lynch’s guitar give the band its bite, and the rhythm section of Crane and Coogan give the songs their groove. The addition of Crane on backup vocals gives more weight and depth to Logan’s vocal melodies, especially during the choruses.

The music on Sound Mountain Sessions is bold and adventurous. Each song is built around a variety of progressions that, in a lesser band’s hands, would fall apart. Lynch Mob handles these transitions smoothly, weaving in and out of this musical traffic much like a Porsche would handle itself on the open road. “Slow Drag” opens the EP with a very Lynch-ish tritone rhythmic progression. The guitar starts off with full-on screaming distortion, and when Logan enters during the verse, Lynch rolls the volume pot back and produces a dirty-clean-tone that is panned to the left. As the song progresses, Lynch brings back the distortion, raging from both speakers. The song takes the approach of quieting down and then surging back to full intensity. The solo is smooth and melodic. The tone is pure Lynch, and it builds up to the return of the vocal. Lynch solos again with a more spastic lead over the closing bars of the song.

“World of Chance” is molded in a similar fashion. The music is allowed to breath as the guitars come at you either maxed to 11, as clean arppegiated melodies or subtly as dirty electric tones. The chorus here is huge vocally, and the underneath guitar rhythm features Lynch playing octaves that end on a chord and then move into a distorted arpeggiated melody. All the different approaches Lynch takes with his rhythm playing makes these songs sound like swirling waters in an ocean. “City of Freedom” hits with a real solid groove. Logan, who has been on fire so far, continues to deliver a stellar vocal performance. Managing to gives us grit as well melodic vocal melodies, his voice is the perfect complement to Lynch’s guitar. “Sucka” opens with a heavier guitar and brisk tempo. Here, Lynch unleashes with a blistering solo. The chorus has some tribal beats that are provided by Coogan, and he makes use of the double base as the song ends.

Years of living, whether on or off the road, has built Lynch Mob into mature and seasoned veteran group of musicians who have found their identity as a band. If Sound Mountain Sessions is a teaser to what we may get from the next full-length studio release, then fans definitely will be licking their chops to get the next CD.

-John Kindred, HardRockHaven.net

George Lynch-Legacy

The new EP release by George Lynch is an instantly gratifying guitar fest comprised of 4 rousing instrumentals – all about the shred-meister’s technical brilliance, but also his sharply focused, vigorous songwriting.

Raunchy grooves and blistering solos spiral in and out of each other on opener “Blood Drive” where the hard rock formula is spiced up not just by Lynch’s convention-defying leads or the prog-inspired middle 8, but also his trademark sound.

Lynch’s transparent, yet fulsome, muscular tone and his vast range – as always – put an immediately recognizable stamp on his playing, but it is his complex, off-the-beaten-track soloing that is the real draw of this release. The spontaneous twists and turns, unexpected melodic diversions, and the flying ease of his articulation are all responsible for the unmistakable soundscape which is at once transparent and richly textured.

But despite the opener’s brilliance, it’s the “Invoid” – a hard rock epitome par excellence – which is the biggest standout of this EP. Packing enough ideas into 5 minutes for most other players to have based a full-length album on, it is an exuberantly fluid, yet punchy track, with constantly evolving ideas defying the usual notion of hard rock harmony as an inflexible constant.

“The Road Ahead” is a perfect closer – with eloquent melody and raw emotion unobscured by the edicts of the hard rock ballad style. And while on the one hand you could say that this release is about a standard stylistic range expected of a hard rock veteran, the interpretation which Lynch gives to the genre’s conventions is nothing short of unique. His expansive vision of his instrument and his writing based on personal realities make hard rock a living, breathing thing – not a dogma or a frozen set of old rules.

-Alissa Ordabai, HardRockHaven.net