#pomaranča

[vinylspinning]

Witch Cross: Fit for Fight (1984)

Back in the early 1980s, the European continent was literally ablaze with heavy metal: from Germany (Accept) to France (Trust) to Italy (Vanadium) to Spain (Barón Rojo) to Switzerland (Krokus) to Sweden (Silver Mountain) to Finland (Oz) to Holland (Angus) to Belgium (Acid), even Yugoslavia (Pomaranča).

Frankly, this glorious conflagration was more than even the most obsessed teenaged metal-head could possibly keep up with and, inevitably, a few bands were bound to slip through our nets -- bands like Danish quintet Witch Cross, and their oft-forgotten 1984 LP, Fit for Fight.

But don’t get too excited about the cartoon werewolf and helpless victims depicted on the album cover because, aside from sharing the same hometown (Copenhagen), recording studio (Easy Sound) and engineer (Niels Erik Lund), these guys had little else in common with Denmark’s most enduring heavy metal export, Mercyful Fate.

Moreover, while King Diamond and his not-so-merry men were fully committed to sacrificing baby goats to the Great Horned One (not really), Witch Cross didn’t seem too sure about their preferred musical direction.

On the one hand, strong cuts like “Face of a Clown,” “Fight the Fire” and “Alien Savage” proved the band could wheel and deal compelling, if utterly conventional Euro-metal, sonically situated midway between Iron Maiden and Helloween on my newly invented (*) “Metallic Evolutionary Scale.” ™

On the other, anthemic cheese platters like “Nightflight to Tokyo” and “Rocking the Night Away” fell pretty flat in their efforts to mimic recent American hair metal gimmicks (or, at best, the Scorpions), though you have to love their vintage performance clips.

Actually, here’s one more for the instrumental “Axe Dance” -- a personal favorite because it showcases the band’s talented (if fashion-challenged) guitar duelists, Cole Hamilton and Mike Wlad, while sparing us from another inconsistent performance by lead singer Alex Savage.

Based on all this, I think Witch Cross might still have developed into something special, given time, but they didn’t get a chance as Fit for Fight never gained traction outside the deepest underground, and the band fell apart after a new series of demos failed to interest record labels.

Of course, they would reform decades later, probably based on an invitation to perform at some Wacken Nostalgia Fest or other, but I’d rather gnaw my arm off than risk exposure to the group’s unnecessary 2013 “comeback” LP, Axe to Grind.

* Like, literally as I wrote this ... and just as soon forgotten.

More Early ‘80s European Metal: Accept’s Breaker, Acid’s Acid, Angus’ Track of Doom, Attentat Rock’s Attentat Rock, Barón Rojo’s Volumen Brutal, Bathory’s Bathory, Bulldozer’s The Day of Wrath, Crossfire’s See You in Hell, Hellhammer’s “Blood Insanity,” Krokus’ One Vice at a Time, Mercyful Fate’s Melissa, Ocean’s Ocean, Overdrive’s Swords and Axes, Oz’s Fire in the Brain, Pomaranča’s Madbringer, Silver Mountain’s Shakin’ Brains, Trash’s Watch Out, Trust’s Répression, Vanadium’s Race With the Devil, Vandenberg’s Vandenberg. 

[vinylspinning]

Attentat Rock: Attentat Rock (1981)

There’s no way in Hell this cover image would pass muster with record label lawyers in today’s ultra-sensitive, politically-correct social climate, but, back in 1981, it was par for the course in rock ‘n’ roll -- at least in France.

Like their compatriots in Trust, Avignon’s Attentat Rock (that’s “Attack Rock”) had almost as much punk rock in their veins as they did heavy metal, and, though I can’t say if that reflects their nation’s less rigid separation of musical genres, trends, and scenes, I will say it makes the band far more intriguing.

Formed a few years earlier by vocalist and guitarist Didier Rochette and bassist Pierre Bremond, the band cut their teeth on pop, rock and punk, before joining forces with lead guitarist Hervé Raynal and drummer Martial Van Zerger (no, seriously), and toughening up their sound.

And I’ve no doubt that the New Wave of British Heavy Metal -- just then exploding right across the English Channel -- had quite an impact on this decision, based on take-no-prisoners head-bangers like “Fais ce Qu’il te Plait” (“Do as You Please”), “Hard Core,” and “Briser la Glace” (“Break the Ice”), which remind me of what Spain’s Barón Rojo were doing around the same time.

By contrasts, the synthesizer-infused “Rock Star” sees the band hedging their bets for an unlikely hit single (hey, you never know), and side two is rife punky hard rock like “L’Enfer” (“Hell”) and “Les Plages du Congo” (“The Beaches of the Congo”), which sort of sounds like The Police.

Alas, in spite of their musical promise, Attentat Rock could never overcome the language barrier with their French-sung material (rock’s own glass ceiling, if you will), and their independent label, Sapem, couldn’t provide the support that a mighty international conglomerate like CBS could offer Trust.

So Attentat Rock wouldn’t be heard from again until 1984, when they finally issued a sophomore LP called Le Gang des Saigneurs (and you thought this first album’s cover art was bad!), followed by a too-late attempt to write English lyrics for 85’s Strike.

But when Raynal subsequently decided to chuck in his black ski mask (whatever happened to berets, mes amies?), the group changed its name to Pink Rose (!!!) and released a final album called Just What You Needed in ‘88 (which absolutely nobody needed), before splitting up.

p.s. -- Both Rochette (2012) and Van Zerger (2017) have since passed on, so a fond adieu to them!

More Early ‘80s European Metal: Accept’s Breaker, Acid’s Acid, Angus’ Track of Doom, Barón Rojo’s Volumen Brutal, Bathory’s Bathory, Bulldozer’s The Day of Wrath, Crossfire’s See You in Hell, Hellhammer’s “Blood Insanity,” Krokus’ One Vice at a Time, Mercyful Fate’s Melissa, Ocean’s Ocean, Overdrive’s Swords and Axes, Oz’s Fire in the Brain, Pomaranča’s Madbringer, Silver Mountain’s Shakin’ Brains, Trash’s Watch Out, Trust’s Répression, Vanadium’s Race With the Devil, Vandenberg’s Vandenberg, Witch Cross’ Fit for Fight.

[vinylspinning]

Crossfire: See You in Hell (1983)

Belgian metal-heads Crossfire originally formed as a Punk band named The Onion Dolls” (?!), before getting swept up by the New Wave of British Heavy Metal’s excitement (and possibly realizing that mohawks were on the way out), and deciding to change their tune.

Errr, so to speak.

All of which makes a lot of sense to me, but I can’t find rhyme nor reason to justify the quintet’s subsequent decision to base their gritty but melodic Speed Metal sound on ... Krokus?

Though I suppose there could be worse role models (and worse cover art, though this one’s pretty darn funny), since I myself rather like early Krokus, so I guess my real beef with 1983’s See You in Hell (*) is that it offers absolutely nothing new.

I’m talking literally ZERO original ideas, particularly on mid-paced head-bangers like “Killing a Cop,” (**) “Danger On Earth” and “Lover’s Game,” though things improve when the band slips into fifth gear for the blazing codas on “Fly High” and “Starchild.”

Credit here must go to the band’s galloping rhythm section (drummer Chris De Brauwer and bassist Patrick Van Londerzele), excellent six-string soloists (Marc Van Caelenberge and Nero Neerinckx), and -- why not? -- capable shrieker Peter De Wint.

What they all lack in imagination, they sort of make for in musicianship and sheer enthusiasm. 

But when their very best efforts, including “Magnificent Night” (not THAT magnificent) and the blazing title track, are only about as good as an average Krokus LP, well then, keep your expectations in check, everyone.

Indeed, the world at large seemed to agree with my assessment, because See You in Hell didn’t exactly set the Metal world on fire, nor did Crossfire’s Second Attack, in 1985, leaving these Belgian boobs no choice but to limp through to the end of the decade before vanishing into oblivion.

* Which at least beat Grim Reaper’s like-named debut into the marketplace by a full year, for what that’s worth.

** Wonder if they got as much grief in the Benelux region as Body Count got for “Cop Killer.” :)

More Early ‘80s European Metal: Accept’s Breaker, Acid’s Acid, Angus’ Track of Doom, Attentat Rock’s Attentat Rock, Barón Rojo’s Volumen Brutal, Bathory’s Bathory,  Bulldozer’s The Day of Wrath, Hellhammer’s “Blood Insanity,” Krokus’ One Vice at a Time, Mercyful Fate’s Melissa, Ocean’s Ocean, Overdrive’s Swords and Axes, Oz’s Fire in the Brain, Pomaranča’s Madbringer, Silver Mountain’s Shakin’ Brains, Trash’s Watch Out, Trust’s Répression, Vanadium’s A Race With the Devil, Vandenberg’s Vandenberg, Witch Cross’ Fit for Fight.

[vinylspinning]

Acid: Acid (1983)

Acid, from Bruges, Belgium, was formed in the wake of the New Wave of British Heavy Metal, as it swept across Continental Europe in the early ‘80s, instigating head-bangers everywhere from Spain (Barón Rojo) to Finland (Oz), from Denmark (Mercyful Fate) to Italy (Vanadium), and from Yugoslavia (Pomaranča) to, of course, Germany (Accept).

But only one of these bands -- Acid -- was led by a woman, Kate de Lombaert, who struck a pioneering blow for gender equality in metal with some backup from her bandmates Donald Devers (lead guitar), Dirk Simoens (rhythm guitar), Pete Decock (bass), and Geert ‘Anvill’ Ricquier (drums).

So, as I wrote in the All-Music Guide, by the summer of 1982, Acid was ready to take on the world (or at least the Benelux region) with their debut single, quickly followed in the early days of ‘83 by this self-titled, self-released debut full of raw, punky metal and protean thrash.

And before you let the band’s eponymous speed metal number chase you away with its rather hokey lyrics (“Acid is the name ... Heavy metal is the game!”), take a chance on undeniable winners like “Ghostriders” and that aforementioned single, “Hell On Wheels.” 

Then stick around for the Judas Priest-inspired “Hooked on Metal” and numerous, somewhat gratuitous satanic teasers (possibly inspired by their northern neighbors led by King Diamond) like “Demon,” “Five Days in Hell,” “Heaven's Devils” and, uh, “Satan.”

Yes, I realize that Acid’s low-budget production, songwriting clichés, and modest ambitions were the sort of liabilities I myself frowned upon in my younger years, when I was comparing them pitilessly to bigger and better bands from the same era.

But when I listen to this LP today, I experience nothing but nostalgic bliss, as I’m taken back to the sounds of my youth -- I just can’t get enough Acid!

More Acid: Maniac, Engine Beast.

[vinylspinning]

Pomaranča [a.k.a. Orange]: Madbringer (1983)

“Honey, let me feel your ... Honey, let me feel your PUSSY!”

This unbelievable lyric, powered by a six-minute hard rock juggernaut, piqued my curiosity about this obscure band and album from behind the Iron Curtain (or close enough) -- not because I’m some kind of pervert, unless the subject is heavy music and its global history.

So allow me to backtrack a bit ... 

Orange, or Pomaranča in their native tongue, are generally considered the first Slovenian heavy metal band (see above), formed in 1979 by vocalist Zlatko Magdalenić and guitarist Mijo Popović, then augmented with keyboardist Tomaž Žontar, bassist Marko Herak, and drummer Franc Teropšić.

Obviously, this placed the band under totalitarian rule, and yet they still secured a contract with Yugoslavia’s state-run PGP RTB label (short for Produkcija Gramofonskih Ploča Radio Televizije Beograd) and debuted with 1981’s Peklenska Pomaranča (Clockwork Orange).

I’ve yet to hear this first LP, but I can tell you that 1983’s sophomore Madbringer basically sounds like AC/DC with a Hammond organ, or AC/DC jamming with Deep Purple, if you prefer -- especially on its title track and the unapologetically smutty little number mentioned above.

Elsewhere, mid-paced, fist-pumping (sometimes overlong) head-bangers like “Get Away,” “Don’t Stop I’m Stoned Again” and “Blood Lips” evidently revere 1981’s For Those About to Rock, which probably inspired Madbringer’s golden cover art, to boot.

The only times Pomaranča strays from this singular, Youngs-inspired mission is on the even catchier “Your Eyes Call Me Back to Tokyo” (think Joe Lynn Turner-era Rainbow) and the piano-infused ballad “Release,” which counters all sappiness with a morbid lyric about suicide ... or something.

So, yes, I was drawn to Madbringer for its novelty value, both geopolitical and pornographic, yet I am now totally sold on Pomaranča’s exotic interpretation of my all-time favorite band, and I may have to explore their first or third LPs (1985’s Pomaranča III) at some point in the future.

More Early ‘80s European Metal: Accept’s Breaker, Acid’s Acid, Angus’ Track of Doom, Attentat Rock’s Attentat Rock, Barón Rojo’s Volumen Brutal, Bathory’s Bathory, Bulldozer’s The Day of Wrath, Crossfire’s See You in Hell, Hellhammer’s “Blood Insanity,” Krokus’ One Vice at a Time, Mercyful Fate’s Melissa, Ocean’s Ocean, Overdrive’s Swords and Axes, Oz’s Fire in the Brain, Silver Mountain’s Shakin’ Brains, Trash’s Watch Out, Trust’s Répression, Vanadium’s Race With the Devil, Vandenberg’s Vandenberg, Witch Cross’ Fit for Fight.

[cr0ss0veronlymusic]

Pomaranča - Mora

[pisankroznik]

SOK IZ MELONE, RDEČE PESE IN POMARANČE

[pisankroznik]

JEDILNIK 71

Nedelja, 15. januar 2017

KREMNA JUHA IZ HOKAIDO BUČE IN ČAJOTE, PEČENE SARDELE, PRAŽEN KROMPIR, RADIČ V SOLATI

Sestavine: 500 g hokaido buče, 1 čajota, košček naribanega ingverja, sok polovice pomaranče

Hokaido bučo in čajoto olupimo in narežemo na manjše koščke. Prepražimo ju v posodi na žlici olja. Nanju naribamo košček ingverja. Premešamo in prilijemo liter vode. Kuhamo 10 minut. Zmiksamo in dodamo sok polovice pomaranče.

KREMNA JUHA IZ HOKAIDO BUČE IN ČAJOTE

PRAŽEN KROMPIR

Sestavine: 80 g krompirja, 1 čebula, 2 žlici olja, jušna osnova ali voda, sol, kumina, majaron ali drobnjak, peteršilj

Neolupljen krompir kuhamo v ekonom loncu 10 minut ali več, odvisno od velikosti krompirja. Ko je kuhan, ga malo ohladimo, olupimo in narežemo na kolobarje. Nato segrejemo olje in čebulo počasi pražimo, da lepo porumeni.  Dodamo krompir, sol, kumino, majaronom ali drobnjak, peteršilj. Med praženjem ga večkrat obrnemo. Prilijemo jušno osnovo ali vodo. Če želimo bolj zapečen krompir, na koncu povečamo temperaturo in ga ne mešamo več.  

PEČENE SARDELE

Sestavine: sardele, olje

Sardelam odstranimo glavo in drobovino. Speremo jih pod tekočo vodo in pustimo, da se odcedijo. Dobro jih osušimo in popečemo na rebrasti ponvi z malo olja.

RADIČ V SOLATI S KROMPIRJEM