We've listed singles/EPs/demos in order of star rating. Best first.
Reviews by Joe Geesin and Pete Whalley
PRAYING MANTIS Metamorphosis: 30th Anniversary EP
www.praying-mantis.com
NWoBHM legends Praying Mantis
celebrate their 30th anniversary (although it's actually their 31st) with this
bumper 5 track EP that takes in re-recordings of early tracks.
The band's last album Sanctuary received rave reviews and rightly so, and this
recording with the same line-up continues in similar vein.
If anything, it is a little more rock'n'roll despite keeping
most of the polish. The end result? A perfect blend of all the best things PM
and it is really worth the effort.
The band, led by brothers Chris (bass) and Tino (guitar) Troy,
were always at the melodic (not quite AOR) end of the NWoBHM, producing many a
decent tune throughout their career.
The set kicks off with 'Children Of The Earth', a classic from the band's 1981
debut album and still a staple in the live set.
Highlight of the set though, has to be the rare track 'Praying
Mantis', which is heavy, catchy, memorable. Here, it blends Killers era Maiden
with early Def Leppard and a slice of Thin Lizzy. Duel riffing, strong vocals,
all good stuff.
'Lovers To The Grave', also from the debut, is
more acoustic, atmospheric, bolstered by some good guitar and vocal harmonies.
'Panic In The Streets' is back to the debut LP and a NWoBHM classic, uptempo, a
real head banger.
The polished single 'Captured City' closes the set with a
crash, band and a wallop and a few blistering solos too.
There may be an element of stop-gap until the next album, but this a wonderful
slice proving how well the current line-up is gelling together.
Classic rock, melodic rock and NWoBHM at their combined best. ****½
Review by Joe Geesin
LE REVERIE Truth & Lies
Recorded at East West Studios in Hollywood, California with legendary
producer Ron Nevison (Zeppelin, The Who, The Stones, Bad Company, Thin Lizzy,
Heart and Ozzy Osborne, to name but a few) behind the desk, the debut ep from
this LA based four-piece band is a scorcher.
Fronted by the excellent vocals of Allie Jorgen, the band take the Euro goth/melodic
female fronted rock band template (think Delain or Divanity), strip away some of
the more overtly symphonic aspects and deliver three classic female fronted
rockers.
With some great vocals, subtle keys, melodic lead guitar work and a powerhouse
rhythm section, if Le Reverie could come up with a full album of material to this
standard, they could be contenders. Ones to watch. ****½
Review by Pete Whalley
URBAN MYTH CLUB Fragile
Following, perhaps not hot on the heels of, their acclaimed debut album
Helium (2006), Fragile is the first single to be lifted off UMC's forthcoming
album Open Up.
Essentially an outlet for the duo Mark Desvaux and producer / samplist Ian
Sanderson, the saving grace (for those who consider Ibiza clubbing the
equivalent of having their nuts roasted on the Devil's toasting fork) is the
sweet female vocals that float over the gentle electro beats and swirling chill
out electronica.
But actually, UMC are so much more than club fodder and sit far more comfortably
next to Moby and Morcheeba. Surprisingly listenable. ***½
Review by Pete Whalley
PETER AND KERRY Clothes, Friends, Photos
A gentle EP from up and coming singer songwriters Kerry Leatham and Peter
Lyons. Both are solo artists in their own right and both were treading very
different paths, but when their journeys converged they decided to chance this
collaborative venture.
The result, Clothes, Friends, Photos bring together six lo-fi indie songs in an
intimate package that oozes ambience. Packed with gentle instrumentation and
plaintive vocals, it's an atmospheric and eclectic affair that harks back to the
days of Bolan's acoustic noodlings.
Peter and Kerry may not be about to set the world alight, but Clothes, Friends,
Photos has a rather charming and unique appeal. ***½
Review by Pete Whalley
TD LIND Push Over Boy Blues (Dramatico)
www.tdlind.com
Taken from his forthcoming album, this is a mid paced blues track with pop and
rock influences. There is an uptempo indie singer/songwriter feel, but the
sturdy guitar chops are quickly augmented by some decent blues guitar lines that
make for a well written tune that’s accessible and actually catchy. ***
Review by Joe Geesin
SWEET JANE Close Your Eyes
Lifted from their debut album Sugar For My Soul, this three track EP looks
set to cement Sweet Jane's reputation as one of Ireland's brightest new talents.
A four piece, with lead vocals shared between Lydia des Dolles and guitarist
Danda Paxton, the band have been together for two years and their sound is a
difficult one to pigeon hole.
On Close Your Eyes, there's echoes of sixties, shades of early Thin Lizzy and a
melodic chorus reminiscent of The Cranberries, while Bleed features early U2 /
Edge guitar lines combined with a sixties / B52's meets the Stone Roses sound.
It's an amalgam that sounds like everyone but no one. Like classic rock one
minute, and indie the next. That's not an easy trick to pull off and it should
enable Sweet Jane the opportunity to win over a wide range of listeners. ***
Review by Pete Whalley
THE WELSH T BAND Rocking The Roadhouse
From the opening vinyl style crackles to the growled blues intro, you get lulled
into a false sense of security.
But don’t stand up too close to speakers too soon as the curiously titled the
Welsh T band boys suddenly explode from a down home intro into heavy duty riffs
and tub thumping rock blues albeit a curious production that glosses everything
with a heavy duty shimmer. I guess rock fans will be attracted this piece of
heavy unreconstructed rock blues with searing guitar lines and some dense organ
and.
However, because of the weird production, which makes the band sound like they
are recording during a mild earth quake it’s difficult to grasp the vocals. But
the guitar lines burn as they should and the singer belts out his lines before a
sudden blast of shrill guitar and a return to the pounding groove.
Welsh T show a subtler side to their style on the other cut here, ‘April Fool
Blues’, which is a straight forward jazzy shuffle with neat guitar lines and
cool piano.
The band is also running a competition to decide which song should be a single.
In truth the answer is neither really as both efforts sound like archetypical
album tracks, but on balance I guess the opening rocker ‘Place in My Heart’ gets
my vote, if only for its blockbusting intensity. ***
Review by Pete Feenstra
TANTRIC CYCLE Bleed
www.tantriccycle.com
This 3 track single kicks off with
'Bleed' and some loud riffs. It's a noisy headbanger with strong hints of 80's
glam sleaze boogie.
A heavy modern take on rock'n'roll, it's a little messy but fun
with it.
The third track 'Emotional Cutback' has a good melody too, very
enjoyable. ***
Review by Joe Geesin
SAMANDRIEL Awakening
www.myspace.com/samandriel
Self released EP/mini album with
6 tracks, from this Canadian band. Largely melodic / progressive power metal
with heavy as lead riffs, plenty of fast solos and swirling keyboards, and
female lead vocals.
Opener 'Holy Land' kicks off in a melodic fashion, a mid paced
riff with Maiden nods. Doneka Reid's high vocals are slightly operatic and add a
strong Nightwish feel, but we can do without those deep background growls.
'Trial By Terror' kicks off with a thunderous rhythm and the high keyboards
compliment the guitars well. The progressive feel here adds a strong Rush feel,
and again the dark grows detract, and are unnecessary. A couple of guitar
harmonies in the song work well.
If you like prog metal or melodic power metal with a Nightwish feel, you'll love
this. *** (or ***½ if you remove the growling)
Review by
Joe Geesin
KARNIVAL KORPUS Midnight Creeper (EP)
(HEF Records)
www.myspace.com/karnivalkorpus
Uptempo hard rock with a
modern energy and classic rock influences. Opener 'Trespassing Thoughts' is a
good number let down by the vocal effects, that ‘distant, trebly, recorded down
a phoneline' feel.
'Giver Of Pain' is a strong number. Throughout the whole EP the
drums are on the harsh edge while the guitar is often dirty, a hint of fuzz.
This gives a slight indie / guitar pop feel.
From the Small Faces to Soundgarden, there's a range of influences that isn't
too extreme.
Good stuff. ***
Review by Joe
Geesin
LEIGH MARY STOKES Your Smile
Kate Nash and Lilly Allen pioneered the talky / cheeky cockney pop genre,
and Eliza Doolittle adapted it to good effect in 2010 with a dash of soul. Your
Smile sees Portsmouth singer songwriter Leigh Mary Stokes bringing it back full
circle with a strong pop element. Infectious and a likely hit with the teen
market. ***
Review by Pete Whalley
LUMBY Self Made Woman
Lumby is a woman walking very firmly in the footsteps of Joan Armatrading.
Self Made Woman showcases her electric guitar / warm soulful vocal style that
blends pop, rock, soul and the blues in a way that is highly reminiscent of Ms
Armatrading, but which at the same time, is Lumby's own. Very listenable and one
to watch. ***
Review by Pete Whalley
JAKE MORLEY Freddie Laid The Smack Down
Feet Don't Fail Me Now has a very strong Lion King flavour to it, in
particular the chorus / African choir parts. Perhaps that is unsurprising as
this London based singer / 'lap style' guitar playing songwriter is a former
writer of TV ad music and composer / lyricist the Famished musical. Pleasant,
and easy to see why he's popular on the London circuit. ***
Review by Pete Whalley
MELONHEADMAN This Life
Inspired by the southern boogie of Skynyrd, the Allmans, and the like, this
second single taken from MelonHeadMan's The Good & The Bad album has a strong
Southern rockabilly feel to it, but at the same time feels rather 'safe'. A
look, however, at the band's Myspace page suggests that they can be a blistering
live act, so watch out for them if they're performing anywhere near you on their
2011 tour. ***
Review by Pete Whalley
ROCKBURN Runnin' Wild
Big guitar riffs, punchy beats, a post glam drum sound, and sing along
vocals, and what have you got? The answer is a Scottish four piece whose latest
single - Runnin' Wild - sounds like an indie rock take on Doctor And The Medics.
With previous compositions already played at Anfield and Parkhead, this is
ballsy Scottish rock for the terraces. ***
Review by Pete Whalley
THE LIGHTS No Match For Geneviere
I was rather enchanted by some of The Lights earlier pop / rock orientated
material, but of late they've steered a clear course towards the more folk
aspect of their sound. This latest effort (produced by Gavin Monaghan (Travis,
Editors and Kings Of Leon), is an bouncy up-tempo number that shifts their sound
again, this time in the indie pop / direction. But it still sounds to me like
they're searching for a clear direction. ***
Review by
Pete Whalley
THE 'A' TRAIN Beginning EP
The 'A' Train are a gentle alt folk three piece group originally from Oxford
and Teeside. And they add a spice to their sound with subtle elements of
calypso, gospel, country and soul. With a warm welcoming sound the band are
bound to prove popular on the folk / American circuit (and perhaps beyond when
they choose to rock out). Pleasant. ***
Review by Pete
Whalley
JIM KROFT Memoirs From The Afterlife
With clear reference lines back to Sgt Pepper, perhaps the singularly most
impressive aspect of this release from singer songwriter Jim Kroft is the
wonderful cut out artwork. But that shouldn't diminish this finely crafted
pseudo 60's single. Backed by a 1920's French music hall style number, it's
barking. But then so is Mika. ***
Review by Pete
Whalley
AVRIL LAVIGNE What The Hell
Having delivered a template that just about every other budding female pop /
rock star has followed since she burst onto the scene in 2002, you sort of hoped
that at 26 Avril Lavigne might develop into a more mature artist.
Over the years others - for example, Paramore, have moved that sound along with
the times. But it looks as if any ambitions in that direction have been squashed
by record execs who have demanded 'more of the same'.
As a result What The Hell sounds like it's aimed at the Toni Basil / Barbie Girl
cheerleader market. Which to my mind, is an opportunity missed. **½
Review by Pete Whalley
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