| Musical Style: Metal/Hard Rock | Produced By: |
| Record Label: Retroactive | Country Of Origin: USA |
| Year Released: 2019 | Artist Website: |
| Tracks: 8/14 | Rating: No Quote |
| Running Time: |
Whiteray is another in a long line of talented late-eighties to early nineties melodic metal bands that potentially got lost in the shuffle of a crowded hard music scene, which is quite a shame. With catchy hooks to spare and even bigger melodies, riffs and the hair to match, the Louisville, Kentucky based act recorded four well regarded demos that stay true to its musical influences as outlined in its press material, including but not limited to Cinderella, Warrant, Motley Crue and Guns N’ Roses. Yet, go beneath the surface and you will find more than meets the eye as it pertains to the Whiteray sound, as revealed in nuances to reflect upon blues based hard rock (Bride from the same era is a good point of reference) and even thrash (fill in the name of whatever band you want). Fittingly, when Whiteray got signed in the early nineties (to R.E.X. Records), it chose to adopt a moniker better in line with its newfound aggressive musical direction, groove based metal with a strong thrash indicator among other things, in Killed By Cain.
Whiteray might have gone on to bigger and better things as Killed By Cain - in reference to its R.E.X. self-titled debut from 1993 - but its soon to go out of print demos turning into highly sought after and hard to find (not to mention pricey!) collectors items. Enter Retroactive Records, whom in late spring 2019 re-mastered (by Rob Colwell of Bombworks Sound) and re-released all four demos as part of a two-disc package (limited to 500 CD’s) entitled The Collected Works. Jewel case packaging comes with an eight-page booklet to feature vintage band photos in addition to an interview with the band from 1989 featured in Pendragon Magazine.
As a result of both discs combining for twenty-two songs and nearly and hour and a half of music, I felt it would work better to break the review down by individual disc (noting how the first includes the first two demos and second the final two) as opposed to doing one of my standard track by track breakdowns.
Disc One
Debut demo from 1988 stays true to the groups eighties melodic metal and hard rock roots with a decidedly heavier edge, at least in comparison to some contemporaries of the time. Whereas some thinness is to be expected of a self-finessed recording using late eighties technology, production is surprisingly clean, albeit not reflective of the polish attributing to larger budget label based releases.
Opening cut “We’ll Fight” actually begins calmly prior to bursting of energy as guitars cut in, revealing a hard charging mentality alongside thickset low end as John Warren unveils his grainy, middle register vocal qualities. Shouted backing vocals adorn the vibrant refrain. Wave your lighter in the air ballad “Trying” ensues with all the expected ingredients: acoustic guitar and keyboards to start that give way to heavier guitars as emotional impetus builds to a momentous peak. Vocals play a soulful role.
Whiteray’s heavier nature stands out on “Promised Land”, an up-tempo metal cut inclusive to storming guitars and heightened tempo but at moments notice evenly descends into sublime acoustic passages. Tony Bowling is in top form lead guitar wise. “Masquerade” foreshadows of the groups later thrash based direction, opening to feedback and a falsetto prior to bristling its length in battering fashion as the Whiteray rhythm section gets a high-energy workout. These two prove there is more to Whiteray than just ‘hair metal”.
Follow up 1989 demo, also going under the First Sin title, finds Whiteray elevating its sound to heavier territory with songwriting lengthier and more technical when placed alongside its debut (finest group of songs from the group, IMHO). It also reflects stronger production values.
Opener “The First Sin” delivers a light progressiveness, with narration from Genesis over rolling drums to start but presses on to jazzy bass, soaring feedback and galloping rhythms the rest of the way. Particularly impressive is the darker nature to the backing vocals adorning the refrain. “Blood On My Hands” elevates ample groove doses within a hard rock framework, with shouted ‘crucify’ backing vocals ahead of the catchy refrain reminding of classic Bloodgood track “Crucify” (off Detonation from 1987). Searing lead guitar would turn the head of Oz Fox.
“Charades Behind The Glass” takes a ballad form and a first class one at that. Mostly airily acoustic but always melodic, it gives way to periodic appearances of heavier rocking guitars and well timed big as it gets backing vocals. Back to heavier territory with “To Die Is To Gain”, a semi-thrash assaulter to hint somewhat of Live To Die era Bride (perhaps it is name recognition but that is what I hear). It starts to militant drums underscoring acoustic guitar prior to powering forward in intense fashion, with piercing vocal shrieks, punchy bass and freight train momentum setting the caustic tone.
Final verdict: If Whiteray had professionally recorded each of the eight songs off its first two demos (and included a couple more of similar quality), it would have a work that would grade at 85% minimum.
Disc Two
On demo three from 1990, Whiteray began interspersing thrash elements with a straightforward metal basis, noting how the group keeps getting heavier with each subsequent release). It works in that Whiteray for the most part does a good job sidestepping much of the repetition and abrasive vocals that serve to turn me away from the thrash genre (perhaps ‘semi thrash’ is the better indicator of what is going on here).
Things get going to “Serious Hell”, a no-nonsense mauler that while not featuring the catchiest hooks entices with its powerful rawness all the same, and “The Haunting”, slower with a bass heavy groove and eerie backing vocals to mirror a foreboding power metal form. “Omniscient” impresses as a two and a half minute thrash driven battering ram of crushing guitars and caustic backing vocals and “We Are Not Afraid To Die” a battle anthem instinctive to catchy riffs and a lengthy stretch of crazy good soloing (best cut of the four).
Halfway in and it deserves note how John Warren aligns his delivery with a gruff, middle register form not unlike that of John Hetfield, a particular I also point out in my 80% Killed By Cain review.
“If This Is Evil” starts the second half with an association of technical guitars and elevated rhythm section to approach speed metal (delivering solid melody all the same), while “The Devil Made Me Do It” tempers to a biting grind that speaks of the doom-like with its grating and acerbic mode (making use of melodic harmonies instrumentally).
Closing the tape is “Waiting To Change”, light but moody with its rolling drums and interweaving of acoustic and hard rocking rhythm guitars and “Shallow Grave”, starting acoustically prior to pounding riffs leading the intense way as Bolwing (bluesy soloing) and Warren (reaching for some flattering high notes) deliver top performances.
Final verdict: I am on the fence with several songs here (perhaps too thrash heavy for my taste?) but there is also enough good material to challenge for a score in the 75% to 80% range.
Final 1991 demo sees Whiteray altering its sound towards a bluesy metal and hard rock basis, which should not surprise when factoring how Bride front man Dale Thompson was at the production helm for Killed By Cain. I do not know which holds true: Thompson influences the group towards a bluesy direction or it had already decided on such a musical basis and felt Thompson would be the best fit for producer as a result.
“Sin City”, lone track to appear on Killed By Cain, would not sound out of place on classic Bride album Kinetic Faith. It presents with expected ingredients in the form of bluesy guitars, grooving hard rock beat and vocals of a gritty and raspy nature. The demo-ish production reminds of the Bride Lost Reels releases (by no means a bad thing). An acoustic version to “Sin City” closes the tape.
More of the same with follow up cut “Gotta Get ‘Ya”, with cascading drums and added grooving blues essence but also a bit repetitive from repeating its refrain a few too many times, in addition to “Freedom”, better with a heavy set and staunch bass heavy essence carrying its down tuned six minutes. “Educate Me” also has Kinetic Faith written all over it in terms of bouncing rhythms and catchy blues based hooks, while same applies to “Schizo” but in a faster and higher energy form with shouted vocals and jazzy instrumental interlude.
Final verdict: How hard effort does a band need to put to sound like Bride? Perhaps that is not the question, but rather should we be asking of the music is any good, and I have to answer with a resounding yes?
Best manner in which to describe Whiteray is versatile and diverse. Call the group whatever you want - melodic metal, straightforward heavy metal, thrash, bluesy hard rock, etc - you cannot say they are not good. Such assortment of styles, of course, could not help but come into play as Whiteray morphed into Killed By Cain and recorded its well-regarded debut. Regardless, boil down the better material off the four demos and you would have one great album and enough leftover for a very solid EP, albeit keeping in mind the diverging styles. If you missed Whiteray back in the day or have the original demos and are looking to revisit them in a highly upgraded format, then do not hesitate to pick up The Collected Works.
Review by Andrew Rockwell
Track Listing (disc one): “We’ll Fight” (3:43), “Trying” (4:45), “Promised Land” (4:38), “Masquerade” (3:02), “The First Sin” (5:05), “Blood On My Hands” (4:38), “Charades Behind The Glass” (5:10), “To Die Is To Gain” (4:53)
Track Listing (disc two): “Serious Hell” (2:54), “The Haunting” (3:21), “Omniscient” (2:22), “We Are Not Afraid To Die” (3:48), “If This Is Evil” (3:36), “The Devil Made Me Do it” (4:36), “Waiting To Change” (3:57), “Shallow Grave” (2:59), “Sin City” (2:44), “Gotta Get ‘Ya” (5:32), “Freedom” (6:12), “Educate Me” (4:18), “Schizo” (3:07), “Sin City” (acoustic) (3:06)
Musicians
John Warren - Lead Vocals
Tony Bolwing - Guitars
Steve Curtsinger - Bass
Shuna Hansboro - Drums
Todd Walker - Drums
