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We've listed albums in order of star rating. Best first.
EMERGENCY GATE Awake
You may have caught this band at a few not so well known festivals over the
last few years for which the band must have obtained experience since their
first professional album release "Nightly Ray". (with the help of Melissa
Etheridge - Def Leppard, Phil Collins etc.)
Brilliant fast finger fretwork from guitarists "Vlad Doose" and Udo Slmon" along
with beautiful harmonised acoustics for songs such as "Unbeing" for the acoustic
work and "Next, In Line" for those fast finger solos.
The electronica songs such as "Double suicide" and Gold & glass" work very well
and fit very nicely amongst the gruff growls of vocalist Matthias Kupka" and
swift drum work from "Chris Wildmann". I still cannot decide whether there is
also a slight glimpse of a drum machine for some of the double bass pedal work.
This album is a most definite grower, and I am quite impressed with the
different sounds of each track and originality of bar, chord and rhythm changes
and I was even caught up in one of those "head bang, lips in a fish shape
"moment.
For any fan of 'Bullet For My Valentine' and 'In Flames' who also appreciate
ballads, synthesisers and keyboards or for anyone who appreciates metal or just
something different! ****½
Review by Fluffmeister NAKED
Get Naked (Stattin Music)
Swedish band Naked started life as a studio project, which has since evolved
into a fully functioning live act, and they are about to release debut album
'Get Naked'.
The band’s sound takes influence from a number ‘70’s and ‘80’s hard rock bands
and the album contains 11 tracks packed with big choruses, harmonies and great
guitar work, in keeping with these influences.
Singer
Petri Vehvilainen’s vocals sit comfortably alongside the (at times) Malmsteen-style
guitars (courtesy of Ronny Zander and Mats Stattin) and, complete with
keyboards, saxophone and backing singers, there is a real ‘80’s European rock
feel to the whole album.
Highlights include opening track 'Guardian Angel', 'You Stole My Heart',
'Hideaway' and the Bon Jovi like 'Why Can’t You See'. There are also a couple of
ballads in 'Until Death Do Us Part' and 'Black Roses Turn Red'.
Fans of early Europe, Bon Jovi and Bonfire will appreciate 'Get Naked' and the
band will no doubt receive a warm welcome in their native Scandinavia. ****
Review by NikkGunns
SOUNDSTORM Twilight Opera Rising Records/RSK
www.myspace.com/powerofsoundstorm
As the
album title suggests, this is very much operatic metal affair, with power metal
mixing with strings, concepts, solos, the kitchen sink.
The concept follows the battle between good and evil, but with good not always
being the absolute winner, and the immortality of true love.
As operatic power metal goes, it's not quite in the same league of Rhapsody, it
certainly doesn't have that narrative, but it's in that direction. Touches of
Freedom Call. Guitar riffs mix with some very fluid piano, the solos are
sublime, and bursts of machine gun drums are punchy, and there are plenty of
layered strings. The vocals are a little on the rough side which adds to the
power metal edge.
The feel goes from chunky power metal to fluid Uli J Roth guitar solos to
operatic and back again, a good mix with odd gothic moments. The falsetto is one
thing I could do without, nodding at The Darkness, but thankfully a rarity.
Very much worth checking out. ***½
Review by Joe Geesin
CANTERBURY Thank You
Canterbury. Not a great name for a band. Try a Google search - no chance.
Add Thank You. Not a great deal better - not a single hit on the first two
pages. But you do get a youtube hit at the bottom of page 3. You need to think
of these things if you're planning a serious aural assault. If people can't
easily find you on the web, you're history before you play a note.
In fact, there's bugger all about the band on the web - a myspace page and a
page with a single message 'Canterbury / Thank You / 26.11.09'. Hardly
enlightening. Who are these guys, what are their influences, what are the
writing, playing and production credits?
The PR blurb answers only a few of these mysteries - a Hampshire based quintet,
allegedly not long out of short trousers and still at school when they recorded
the album with unknown producer Peter Miles in drummer Scott's living room.
Now, 2 years later Thank You is about to see the light of day, and remarkably
the boys are planning to release the album on free digital download (with
payment optional).
And that's about all we know, although having watched one of the This Is
Canterbury youtube videos, I'd hazard these lads are public school educated.
Now you might think all these facts - recorded by kids, diy production and free
downloads would point to a single word - 'naff'. But he surprise is that Thank
You is a mightily accomplished and very mature piece of work.
It's a really difficult band to draw comparisons. There's no obvious reference
points - there's echoes of everyone from the Beachboys to the Police, from The
Coral to Coldplay and way beyond. Perhaps the best analogy is to the likes of
Sad Café, because Canterbury look capable of walking that thin tightrope that
connects serious rock credibility with commercial success.
Canterbury. Remember the name. But don't try to find them on Google. Try
http://www.myspace.com/canterbury instead. ***½
Rerview by Pete Whalley
LOCH VOSTOK Reveal No Secrets
'Loch Vostok' are named after a subterranean lake in the Antarctica, who
rose out of the collapse of Progressive Metal band 'Mayadome' in 2001. After 10
years Drummer 'Teddy Moller was tired of the cheese and decided to start
something meatier. They also released a critically acclaimed album "Destruction
Time Again" worldwide in 2006 and toured with 'King Diamond' in April 2006 which
generated a more high profile shows at various European Festivals.
Instrumentally, this album is pure metal from start to finish and is actually
very impressive on a potential scale. However, there is one small matter of the
not so angelic vocals which will determine your like or dislike of this album.
For example, if you love your 'Dio's, 'Dickinson's etc then you are simply going
to adore this album. If you are more of a 'Lamb of God' dirty screech fest fan,
then you may find that this release will take a few listens to get used to.
A favourite instrument of the Swedish, seems to be the ever so apparent
keyboards, which can sometimes ruin a sound or happily sit along side guitar
riffs without a notice.
One minute it works, other times it does not. I always deem
keyboards as the 'mister meaner' of any release and Rammstein they are not.
Ruined or not ruined is the question and the answer to that is "some tracks are
ruined" but we are not all perfect.
Gnarly guitar riffs, standard drumming and sometimes quite dodgy lyrics; yet
quite appealing on the sound front. What I am saying is "try this for yourself".
***½
Review by Fluffmeister PROZAC DAISIES Krazzy
The band name, the mini album title, the artwork. I was expecting the worst.
But it turns out Prozac Daisies are rather good. If perhaps, a little
'different'.
With an unusual line-up, Vinnie D on vocals and guitar, Rocco Rado on bass, Jeff
Ducket on drums, Patrick Christie on guitar, and last, but by no means least
blonde bombshell Michelle Tess Oberline, on cello who [allegedly] gives the band
their trademark sound.
The mini album includes their first single - a superb remake of the Tommy Tutone
classic 867-5309 / Jenny - the band come on like ELO meets Kiss. In other words,
great rock songs with superb hooks, and infectious choruses, with the cello
providing that classic ELO sound. And with a whiff of David Lee Roth thrown in
for good measure.
It's confusing though, because the credited musicians include only Vinnie D,
with producer Jeff Silverman having a major hand in the guitars, bass, drums,
keyboard parts and song writing. Which leaves more questions than answers.
But Krazzy is nothing if not great commercial rock 'n' roll that doesn't take
itself too seriously. Big fun. ***½ Review by Pete
Whalley SAHARA RAIN Sand In Your Hands
www.sahararain.com
Debut album by a band hailing from Switzerland and they have Michael Bormann
(Jaded Heart/Rain) handling production and adding backing vocals. Michael
Bormann also adds his considerably songwriting talents to the music on here as
well. The album cover catches the eye with a belly dancer and what appears to be
a pair of humping camels.
Overall it is not bad at all, coming across like fellow Swiss rockers Gotthard
and the Scorpions at times. The ballad 'Higher Sky' is a highlight building
nicely and allowing a chance for vocalist Ricci to shine. The rockers 'Shadow'
and 'Blinded Eyes' remind the listener of Bon Jovi (when they were good!), both
featuring some neat guitar solos.
Not a bad album at all and one you can see yourself still playing in years to
come. There second album due next year should be one to look out for. ***½
Review by Jason Ritchie
DAYS BEFORE TOMORROW The Sky Is Falling
Melodic prog rock here, with a strong throwback to the 80s but keeping a
modern solid sound. It’s too heavy to called pop, and not quite commercial
sounding enough to compete with Asia, but it in verging on that territory.
Opening tracks 'Lighters' and 'Wrong' both feature strong choruses, and some
searing vocals and guitars that stand out. Later on the vocal effects (think a
poor radio broadcast) don’t work so well, but the guitars remain strong.
The strings on the more balladic tracks work well, the vocals strong too.
'Wasted Years II' mixes guitar and keyboards too, and there are some
Marillion-esque intricacies too.
'In The Air' mixes some heavy riffs with gentle moments.
The two guitars mix well, but the music is so melodic it’s almost MOR in places.
There are no bad songs, but with only occasional prog hard rock moments, it’s
not always as gripping as it could or should be. ***½
Review by Joe Geesin
JEFFERSON STARSHIP Performing Jefferson Airplane At Woodstock 2009
(Voiceprint)
The current Starship, who evolved from Airplane in 1974, recorded this live
album in California, and celebrates the original band's 40th anniversary of
playing the original Woodstock.
It's a good live set, solid, even if the West Coast sound is watered down a
little. A big and full sound, with 'Somebody To Love' and 'The Other Side Of
This Life' standing out. Classics like 'Eskimo Blue Day', 'White Rabbit' and
'Volunteers' are there too, and Grateful Dead pianist Ton Constanten joins the
band for two GD tracks 'Deal' and 'I Know You Rider'.
This kind of music lends itself to the festival circuit, and is pretty
enjoyable. ***½
Review by Joe Geesin
GONG GLOBAL FAMILY Live In Brazil (Voiceprint)
Recently issued on DVD too, this live set captures the ongoing saga of Daevid
Allen and Gong well.
With all the usual craziness you would expect from Gong, or should I say the
unexpected, this is zany sounds and light shows and Allen’s usual meanderings.
With roots in psychedelic prog, the band perform here in Sao Paulo with The
Invisible Opera Company Of Brazil, and feature the tracks “Master Builder”, “You
Can’t Kill Me” and “Radio Gnome Invisible”.
This is pretty far out, definitely one for fans, but the passing listener may
find it hard to get into. ***½
Review by Joe Geesin
QUICKSILVER MESSENGER SERVICE Live At The Quarter In Lounge, New Orleans,
July 1977 (2CD) Bear Records / Voiceprint
Quicksilver Messenger Service were one of the most successful West Coast acid
rock bands of the late 60s and early 70s, along with Jefferson Airplane and The
Grateful Dead. From the mid 70s, there have been many partial reunions, and this
1977 performance was well captured. With Dino Valenti and Gary Duncan leading
the way with an enthusiastic crowd, tracks from the reunion album Solid Silver
(including “Bittersweet Love” and “Cowboy On The Run”) are played next to “Mona”
and “Who Do You Love” (the latter running at over 10 minutes).
The rock is solid, if a little jangly in West Coast fashion in places, the 14
tracks all seem to go down well.
Always a successful live band, in America at least, and this album shows why.
***½
Review by Joe Geesin
MEAN STREAK Metal Slave
Modern classic metal from Sweden, which kicks off with the excellent yet
clichéd 'Whom The Gods Love Die Young'. The riffs nod at Iron Maiden, the vocals
and solos to modern European power metal bands like Mob Rules. The chorus is
quite anthemic too.
'Battle Within' nods at Helloween, in a more melodic way, and there’s some vocal
harmony on chorus too. Later on there’s a nod to 90s Sabbath too, which is a
riff filled metal sound with strong mid range vocals. 'Eyes Of A Stranger' adds
a touch of 90s Judas Priest too.
The vocals are pretty strong throughout, the twin guitars work well together,
and the pace changes too; from uptempo trad metal to slower grinding darker
tracks, it’s pretty classic metal really.
Def worth checking out. ***½
Review by Joe Geesin MELY Portrait of a Porcelain Doll
This is the fourth album release from Australian spawned "Mely". Fourth
release? I have not even seen or heard the other 3 so can not imagine they have
been worth while!
Sound quality is not that great, the further I turned my volume knob nearer to
11, the sound seemed crackly and not that well produced. A good huge sub woofer
turned to max can easily deter the crackling gripes, but for me it ruins the
atmosphere of what the album is trying achieve. Furthermore, the guitar work is
very light and not as heavy as you would expect from this kind of release, and I
did not even notice the drum work!
This is an album that can be played in the background without upsetting anybody,
but be prepared for a monotonous sound of all the tracks.
This album is very laid back and if you like your slow heavy Goth/Doom with
melodic vocals, yet happy and not so miserable as usual, then this release will
certainly get your juices flowing.
Preferably for fans of "Paradise Lost" and even a few fans of early "Alice in
Chains" or even "HIM". Or maybe you just fancy checking out the new
'Melancholic' metal style. *** Review by Fluffmeister
THE GILES BROTHERS 1962 - 1967 (Voiceprint)
The Giles Brothers Michael (drums) and Peter (bass / vocals) are best known for
forming Giles Giles & Fripp with guitarist Robert Fripp, the band who would
later become King Crimson.
These recordings come from the brothers’ own vaults, and are very typical of the
sixties, mixing skiffle, pop, psyche and R’n’B. There are some great tunes along
the way, across different line-ups of various bands they worked with. The
recording quality varies, and is often a little bright or tinny, but for 60s pop
fans it’s all good stuff and a good piece of pre KC history.
Also, with a thick booklet, it is very well annotated, with band sleevenotes and
the source of each track documented with line-up.
Unless you’re really keen, the music is passable in places, but it is well
packaged. *** Review by Joe Geesin
STAR*RATS Screw The Consequences (Swedmetal)
Danish heavy/sleaze metal band Star*Rats release their third album on
Swedmetal Records.
With new frontman Magnus (aka Mr Whattafuck) strutting his stuff, the band serve
up 14 sizzling 'in your face' anthems of love, hate, stimulants, sex and (self)
destruction.
In their 5 years the band have predominantly been confined to northern European
circuit, although have managed to get support slots with the likes of Alice
Cooper, Skid Row, Dokken and Magnum.
With a pounding rhythm section, plenty of crunchy riff work, some big melodies,
and explosive lead guitar breaks this is how Guns 'n' Roses may have mutated if
they'd not self imploded.
Self produced, but mixed by Grammy Winner Chris Laney (Europe), eat your heart
out Axl. Star*Rats are loud, horny and depraved. But, that's rock 'n' roll, and
with the right break Stateside, the sky could be the limit. ***
Review by Pete Whalley
ORANGE Phoenix
Hellcat Records
Orange are a US based punk pop band who sound uncannily like Green Day at times.
This is the band's third album and it does have a few top draw pop punk moments
including ‘Standing Still', which given its catchy chorus is the single released
of the album.
‘Catching Up' and ‘Each
Other' both remind the listener of prime time Green Day. Elsewhere though the
songs sound like many a pop punk pretender to the Green Day crown and I doubt
bar the aforementioned three songs you'd play the album much. But the album does
end on a high with a high quality version of Lou Reed's ‘Perfect Day' complete
with strings and piano making for a welcome change of pace and style.
An album to dip into selectively although Green Day fans will doubtless enjoy it
more than most. ***
Review by Jason Ritchie
VANITY INK More
Senseless Random Behaviour
Female fronted Fin rock. Fin as in Finland, that is, not as in Jaws. Formed
in Helsinki in 2002 and with one album - On Your Skin (2007) - already under
their studded belts, More Senseless Random Behaviour could so easily have been a
banana skin.
But it's actually a great piece of commercial pop/punk/ rock from a classic
female fronted line up of Sam Junni (drums), Jussi (guitar), Juha Bandit
(guitar), Miki Peltola (bass) and Annabella (vocals).
Think Motley Crue meet Vixen, with Annabella's vocals falling somewhere between
Pat Benatar and Lita Ford and you won't be far wide of the mark. Unashamedly
good time rock 'n' roll, perfect for blasting down the strip with the top down.
The excellent power ballad Breathe shows the band are no one trick ponies, and
one can't help but feel that the US market would lap this up.. ***
Review by Pete Whalley
KINGS OF MODESTY Hell
Or Highwater (Escape)
Although they have never truly made a name for themselves in UK, in Finland and
Switzerland Kings Of Modesty have quite a fan base and are a well known name
amongst progressive metal fans. I was surprised by the quality of the melodies
on this album; there are some excellent tracks such as the imaginative 'Deep
Down' and the meaty 'Suicide Mission.'
The musicianship is very
strong with some firm riffs and short but memorable solos and there is an
underlying bass which is worth paying attention too. Admittedly it took some
patience to appreciate Jason Flicnk's vocals which go from being whiney to
superficial but after a few plays of the album his vocals grew on me. This is a
good album that has its weak spots but enough encouraging songs to prove the
band can deliver the goods. ***
Review by Neil Daniels
KOOZNETZ Kooznetz
www.myspace.com/kooznetz
The name is Russian for
Blacksmith, and this old school metal is just about as rough, in the best
possible way.
There is a NWoBHM feel, the indie rough black kind. I'm not talking about Venom
as there is some talent and melody here, but it is the cement mixer kind that
could have been influence by Black Sabbath (early and late) and then influenced
later proto thrash bands. The music is very heavy, the vocals rough yet
coherent, the guitars mix chunky riffs with solos.
There are some more modern moments, but everything except the keyboards sounds
dragged over a cheese grater. The vocals get almost (slow) operatic at times,
giving a doom metal feel.
Some very good moments, but the kind of sound I personally would get tired of
quickly. The DVD that comes with it is worth watching though. ***
Review by Joe Geesin
CAIN The Master
Clockwork
www.myspace.com/cainswe
This Swedish band mix
classic and melodic rock, with heavy chunky riffs and screams.
There's not much on the press release, but mentioning playing with BWO (an
electronic, programmed and camp disco outfit with not an instrument in sight) is
maybe not the best thing for a metal band to shout about. And the typo of 'Some
really god songs' made me laugh too.
The riffs are heavy, the solos are good, the metal a nod at power metal. The
only downfall is the drums. Although the playing is varied, the sound makes them
sound more monotonous than they really are. There are bursts of more modern
metal, and operatic moments too, and the keyboards do fill the sound well even
though they are down in the mix.
The album is 6 months old now and has been getting airplay and good reviews
locally.
While it's a clean sound, it doesn't come over as smoothly as you feel it
should. Some good moments though. ***
Review by Joe Geesin
ELECTRIC EEL SHOCK
Sugoi Indeed (Transcend Records)
Energetic Japanese 3-piece metal, where the metal nods to classic metal and the
vocals have a punky edge.
The uptempo music nods to stoner - think QOTSA meets AC/DC.
'Mr Toad' has an interesting rhythm, almost off-beat funk, while the title track
has more of a Ramones punk thrash feel. 'Nobody Knows' is a decent enough track
but is cluttered with the fuzz.
A nice mix of rhythms and styles within classic metal, but at times this comes
across as cluttered.
Even so, well worth checking out. ***
Review by Joe Geesin
MERETTO Street Talking (Rockpop Records)
Carrying the same streetwise swagger of Hard-Fi, Meretto's new album 'Street
Talking' is due out November 16th. It's a lively blend of indie rock with an
electronic edge, mixed by Dan Swift of Snow Patrol and Biffy Clyro fame.
On debut single 'Devotion', front man Stu Bell, sings optimistically of not
wanting the standard nine to five life over a thumping bass line.
'Caesium Baby' and 'Bust' roll along with tales of modern city life. Electronic
monster 'A Kiss' features upbeat synths over jangly guitars.
Energetic thumper 'A Method of Urban Survival' is surely destined to be a future
single. Featuring the band's most instant chorus, it sets the direction and tone
well for the entire album.
'Once The Dust Has Gone' has a Frankie Goes to Hollywood bass line intro that
gives way to a more mature less frantic sound. Final track 'Back To Me' with
it's 80's New Romance synths, somehow seems to work and is the most heartfelt
track on the album.
Bass player Matt Burgess studied music technology under Martin McAloon of Prefab
Sprout fame, which may give a little insight into some of the 80's style synths
on the album. T
Think three minute electro-tinged indie rock, with the attitude of The Enemy the
electronic indie of Boy Kill Boy and a touch of the 80's. If this is your thing
then you should check out Meretto. ***
Review by Darren Coomber
TOJA Train Of Life (Avenue Of Allies)
Third album from this German outfit and the first impression is of a mature
modern sounding melodic power metal. The opening track nods to Iron Maiden, with
the operatic edge to the vocals that many European power metal bands try.
'Just A Love Song' is an acoustic ballad with strings that nods to Judas
Priest’s 'Before The Storm' or 'Evening Star' but more sickly sweet. Other more
melodic tracks that nod towards big sounding ballads are more electric and much
more enjoyable. 'End Of A Nation' mixes piano and guitar well, like an 80s AOR
hit rather beefed up and modernised.
At the classic rock end of melodic power metal, their better moments sitting
nicely between Masterplan, Kamelot, Judas Priest and Savatage.
There are some moments that could be more consistent though, otherwise well
worth a listen. ***
Review by Joe Geesin
SEASONS LOST After The Storm
This Florida band’s debut album kicks off in fine style with some crunching
guitars on 'To Hell And Back'. Solid modern metal with power metal influences,
some good clean vocals and a decent guitar solo too.
Some of the rhythms come in bursts, staccato fashion, the only let down being
the bursts of intelligible growls / screams. Shame as some of the cleaner vocal
harmonies are great.
'Confession' is a more consistent melodic hard rock, a touch of Nickelback.
The tracks mix melodic rock that verge on pop/rock, and others back to the heavy
end with growls, quite a mix. Not an album to please fans of any one genre; the
variation is good but extreme. ***
Review by Joe Geesin
FREEDOM Black On White
(Angel Air)
Freedom were formed by drummer Bobby Harison and guitarist Ray Royer, both
formerly of Procol Harum. This 1969 debut (recorded the previous year) is a lot
more psychedelic than the later hard rock efforts and was the soundtrack to the
Dino de Laurentis film of the same name.
The sound is keyboard led with a melodic bass line, vocal harmonies, it nods at
hard rock in a very whimsical way. Some light strings add to the atmosphere, and
there is in places something sounding like a harpsichord.
Elsewhere it does go into proto-hard rock territory.
As period music goes it is strong, and will please fans, especially with the
plethora of sleevenotes (including band involvement), remastering and extra
tracks (including two 1968 singles). But this is far from the band’s best album.
Whether their hands were tied to the soundtrack or the musical period, Freedom
did go on to much better things. ***
Review by Joe Geesin
GO WEST Live (Angel
Air)
Angel Air play a canny one with this live release as they seek to cash in on
the current 80's revival of which Go West have been enjoying by touring arena
sized venues as part of the Here And Now package with fellow 80's artists. Angel
Air also release a live album by the Spandau Ballet members less the Kemp
brothers and as the fully reunited Spandau Ballet embark on a tour this autumn,
good timing yet again for the release. Go West still feature the core duo of
vocalist Peter Cox and Richard Drummie and this live show was recorded back in
2003.
The hits are all here including the parptastic keys led 'we Close Our Eyes',
'Goodbye Girl', the Smokey Robinson cover 'Tracks Of My Tears' and 'The King Of
Wishful Thinking'.
The band do veer off into
soul/R'n'B too much for personal tastes and delve into extended, jazz/fusion
themed solos on songs like 'Missing Persons'. Certainly live they seem to have a
mellower, soulful edge than the pop sound of their albums and as a result I
didn't enjoy this as much as I was expecting too.
Fans will love this
release though and the sound quality is very good throughout. ***
Review by Jason Ritchie
BECOMING AUGUST Twenty
One
With a line up of Anna Libby (vocals), Allen Higgins (guitars), Tom West
(keys), Marty Ballon (bass) and Marty Richards (drums), Becoming August are
something there aren't enough of these days - a rock 'n' roll band with no
samples, no edits, and no computer gimmickry. Just four musicians playing it
'for real' with a female vocalist of real potential in Anna Libby.
To be honest, Twenty One is a mixed set varying from the straight a head rock of
Freight Train (a stand out track that has it all great guitar chops, a wonderful
organ sound and blistering vocals), Outta Here and Indefinitely, through the
country honky-tonk of Famous, the country blues of 4 Nothing, the soft rock
acoustic ballads of Unwanted, Lucky, and Amy's Song, and the pop/rock of TV Song
and Midnight Moon.
The album has an innocent charm and freshness often missing in today's
manufactured music. And in some ways I was reminded of some of those classic
bands of the early 1970's like Vinegar Joe. The irony is, I couldn't help but
wonder what might have been with a seasoned pro behind the production desk.
***
Review by Pete Whalley
SEVENTH RIZE Full Moon
(Perris Records)
Texan band Seventh Rize were formed in 1991, split up in 2000 and then reformed
in 2006. Since reforming the band have played alongside the likes of Warrant,
Firehouse and White Lion and are currently touring with Slaughter vocalist Mark
Slaughter.
New album 'Full Moon' was produced by Bobby Rock and features some additional
songwriting from Foreigner's Bruce Turgon. In the bands early days they gained
comparisons to Motley Crue and RATT and, on this album, front man Stacy "The Big
Daddy" Humphries bluesy vocals are, at times, reminiscent of one time Crue
singer John Corabi.
'Full Moon' is a no nonsense hard rock album that, unfortunately, from time to
time does sound dated- however, it is not a bad album. 'One Last Time' is a
Whitesnake style slow number, whilst 'Quicken' has some very Bonhamesque
drumming and soaring guitar work. Other highlights include 'Torn', 'Roller
Coaster', 'Wreckage' and 'You're the One'. ***
Review by Nikk Gunns
BRUNOROCK War Maniacs
Brunorock is the brainchild of Bruno Kraler and the band have released three
albums prior to this one, the last one being released via the now sadly defunct
MTM Records.
The music on here is your standard AOR meets melodic rock, it is well played and
produced with some memorable hooks but overall not an album you'd go 'wow' after
listening to it.
The slower numbers work
best like 'Julia' and the big ballad 'Painless Skies' which closes the album.
There is also a very melodic sounding cover of AC/DC's 'Touch Too Much'. Good
version but again hardly essential listening.
If you enjoyed one of the band's previous releases then this album will
certainly keep you satisfied, however I can't see it bringing in many new fans
sadly. ***
Review by Jason Ritchie
RAZORBLADEKISSES
Twinkle Twinkle Little Scar
Neat name for a goth / rock / shock outfit - RazorBladeKisses - a band
formed in 2000 by [now UK based] Persian vocalists Layla and Azadeh.
With an intoxicating mix of rock, goth, shock, opera and eastern promise, the
girls are a darker, more mysterious version of Shakespears Sister. And with
their strong harmonies and sweet, yet seductive and edgy vocals, it's easy to
see why the band is developing quite a cult following in the goth circle.
The ten track set has a quirky, unhinged, yet sexual feel. At times enchanting,
but at the same time creepy - with innocently delivered lines like 'I want to
make you scream' - you wonder whether it would be safe to succumb to the girls
'charms.
The opening track - Alice - is like a fairytale, but with a slasher lurking in
the background - you just know there's something malevolent about those tinkling
glock notes.
New Nightmare is broody
pop, while Pretty Dead Doll has an eerie undercurrent. Teddy - about 'the
monster in the closet' is great fun, The Butterfly a lovely haunting number,
while Lure Of The Temptress has an Alice Cooper theatrical feel.
The whole set is spookily unbalanced and designed to tempt and taunt. Perfect
for the witching hour and not for those who like to listen to their music with
the lights turned off. ***
Review by Pete Whalley
WILLIAM FITZSIMMONS The
Sparrow And The Crow.
The continuing story of the life of former psychotherapist William
Fitzsimmons, is told by The Sparrow And Crow. Chronicling the breakup of his
marriage, it picks up the pieces where Goodnight - the story of his blind
parents break-up - left off.
And while Goodnight relied on metaphors and analogies, The Sparrow …-
Fitzsimmons' first record made in a proper recording studio - is a more direct
tale of pain and heartbreak.
Recorded mostly with friends - including Priscilla Ahn and CaitinCrosby - the
album has met with rave reviews stateside - iTunes calling it the #1 folk album
of 2008, and Fitzimmons gaining favourable comparisons with indie folk
singer-songwriter Bon Iver.
It's stripped back, beautiful piece of work. Every breath, every nuance exposed
like a raw nerve. Perhaps best known to date for songs that have appeared on
Grey's Anatomy and General Hospital, The Sparrow And The Crow will only serve to
enhance his growing reputation.
If Paul Simon was starting out today, and had just broken up with Princess Leia,
he could well have sounded like this. William Fitzsimmons will be touring
Europe, including the UK, this November. ***
Review by Pete Whalley
P.A.I.N. MANAGEMENT
Lobotomy (STF Records )
www.myspace.com/painmanagementmetal
A few seconds of a
programmed progressive keyboards before the metal comes crashing in. The opening
track is brutal with both alternative and decent touches, and vocals at the
rough almost grunted end.
Next up is 'Weak', a strange mix of rough metal guitars and slightly rough
vocals, with some very clear cut keyboards. Oddly the rhythm is catchy, it’s a
mix you really want to like but there is something stopping you loving it that
you can’t put your finger on. The feeling is the same in later tracks, a brick
wall of guitars and an atmosphere too.
Some very good touches, but the roughness and alternative influences I found
off-putting. A mix of two too different extremes. I wanted to like this so much
more but really couldn’t. **½
Review by Joe Geesin
HILARY SCOTT - Road To
Hope / Consonance (with Wes Wingate)
The last two albums by folk / country singer songwriter Hilary Scott - Road
To Hope (2006) and her most recent release Consonance - a collaboration with
singer songwriter Wes Wingate. Hilary started her solo performance career in
Seattle in 1999, but moved to Columbia, Missouri in 2000.
While Consonance was inspired by classic male / female duets of Bob Dylan and
Emmylou Harris (a cover of their cover of Oh Sister is included) and more
recently Robert Plant and Alison Krauss, Road To Hope is a solo affair.
But covers are a regular feature on both albums - Road To Hope includes
Hallelujah by Leonard Cohen (before X Factor spoiled it), You Electrify Me by
Ruth Lee, Long Ride Home By Patty Griffin and To Make You Feel My Love by Bob
Dylan.
Consonance though is primarily covers - Scott and Wingate contribute one song
each - including The Pouges Dirty Old Town, Mama You've Been On My Mind and Oh
Sister by Dylan, Come Pick Me Up - Ryan Adams, and perhaps most surprisingly,
Madonna's Like A Virgin.
So, are you gonna like Hilary Scott? It depends on whether you like sparse laid
back folk / country. Both albums are beautifully played, sung and performed and
Consonance has a deep country duets vein.
The revelation of that set
though is the stunning mandolin led cover of Like A Virgin. Slowed down to a
dreamy ballad, it's a magnificent interpretation and everything a cover should
be. It's worth the admission price alone.
In her own right, Hilary carries a 'southern blues rock' tag, but it's of the
very soft and gentle folky variety that's going to appeal to those who
appreciate the Patty Griffin school of rock.
Less overtly 'country'
than Consonance, it's a set dominated by Hilary's sweet voiced soft folk
/country blues. Clean cut, it's pleasant on the ear and sooths rather than grabs
you by the balls. But while Hilary's got the image, the voice and the players,
it's the absence of one or two real 'killer' songs that fails to make either
album stand out. **½
Review by Pete Whalley
THE FLARE UP Whip’Em Hard, Whip’Em Good (Criminal)
This young band play a fast solid rock. It is very slightly punky, very slightly
guitar pop, but definitely in a very hard rock way.
With twin guitar and piano the sound is bolstered on the opening tracks 'Put It
In A Letter' and 'Vicious Seeds', but the sound isn’t quite as full or solid as
you’d expect; it is bolstered by the energy though. The title track is more 70s
indie balladic, with a nod of Mott The Hoople. A nice melody, but even with the
strings it’s a little thin.
The music is chops and riff oriented, there are some decent melodies but all
with an indie feel and fuzzy guitar, think a beefed up mix of any guitar pop and
with a touch of Flipron, and about as many guitar solos as a Pet Shop Boys
album.
This tries so hard to rock, but doesn’t quite manage it. This will more than do
for the guitar pop fan who wants to rock and buy the t-shirt but not grow the
hair. **½
Review by Joe Geesin
NECK Come Out Fighting!
The Irish love a fight. And often amongst themselves.
Listening to the third album by Neck - a leading force on the Irish folk / punk
scene - you can't hold back the images of Horslips, Thin Lizzy, The Pogues, The
Chieftains and lock-ins at just about every bar up and down the Emerald Isle.
At the forefront of Celtic influenced punk, the London based 6 piece combine the
traditional fiddle, tin whistle and banjo with punk electric guitars, bass and
drums. It adds up to a frenetic and ferocious concoction of jigs, reels, and
traditional folk songs play like you've not heard before.
It's an interesting concept because the fiddle, banjo and tin whistle are mixed
up to compete with guitars, and the drums, and the bass, and the vocals into a
cacophony of Irish madness.
Think The Clash jamming with The Pogues and seeing who can make the most noise
and play the fastest and you won't be far wide of the mark.
Having played over 1000 festivals over 8 years and with 3 international albums
under their belts, Neck are quite unique. Fronted by Liam O'Keefe - a former
member of Shane MacGowan's Popes who hails from the same North London as Johnny
Rotten, you begin to see the overall picture.
Add Pat Collier (Wonderstuff, Primal Scream and The Vibrators) on recording and
mixing duties and you're in for one hell of a Guinness infused hammering.
**½
Review by Pete Whalley
SANJURO I Want My Money
Back
Quirky just about sums up this up beat debut mini album release from Sanjuro
- a multi-national group of itinerants.
A five piece spawned from a mad idea to play French tunes in a tunnel located
outside of a Tesco supermarket, the set does, indeed, have a distinctly Gallic
feel.
Having been 'moved on' from Tesco to the London toilet-circuit, the band now
includes founder members JP on viola and Pasquin on guitar and vocals with
Tiberiu from Romania on accordion, Lauri from Finland on bass, and Dave from
London on drums.
With roots just about everywhere across northern Europe, Sanjuro have a manic
gypsy feel. A European Pogues crossed with The Coral and Bryan Ferry. And with
plenty of accordion and viola thrown into the mix.
While undoubtedly proficient players, Sanjuro are either niche or novelty. That
probably undersells their ability and we can no doubt expect to see them on
Later with Jools Holland, where their manic mix of rock, folk, gypsy, ska punk
and tango might [briefly] shine bright. **½
Review by Pete Whalley
LUCKY BASTARDZ Hated For Who We Are
Hmm. The name Lucky Bastardz, the title Hated For Who We Are and an album
sleeve depicting a topless buxom wench in panties and heels, legs akimbo giving
herself a good fingering, left me thinking this was not going to be a piece of
melodic soft rock.
And how right I was. Because the 3 piece, plus vocalist Geppo, who hail from
Alessandria, Italy serve their rock rough, raw, fast and dirty, in the Motorhead
style. And they come out of the traps all guns balzing - Devil Come sounding
like Lemmy and the boys with a molten copy of the Ace Of Spades 12 incher
inserted between their cheeks.
And Hated For Who You Are hardly pauses for breath from there on in. Although At
What Time - Does My Breath Stop? Showcases the band's more melodic tendencies
and demonstartes,there's more to their arsenal, than just nuclear warheads. As
does the acoustic jazz blues Another LBZ nite which has a strangely Depeche Mode
feel to it. Those tracks apart, the band, and vocalist Geppo in particular sound
as if they're about to burst a blood vessel.
Having signed to Swedmetal records the boys are looking for world domination.
Woe betide anyone who gets in their way. **½
Review by Pete Whalley
DAN CLEWS Dan Clews
'English singer songwriter backed by Sir George Martin releases debut
album'.
That's quite an endorsement. By the 5th Beatle. Wow. That is, until you stand
back and ask yourself 'just what are Sir George's credentials post Fab 4?'
Recorded at the Air and Abbey Road studios by, amongst other producers, Giles
Martin (nothing like a bit of nepotism) who worked on the Beatles Anthology and
Love albums, Dan's debut is a throwback to the early 1970's singer songwriter
generation of James Taylor and Paul Simon.
In other words, it's a gentle guitar based introspective set of 10 tracks spread
over a vinyl length 37 minutes. Tinged in places with subtle electronica the
songs display an innocence and simplicity of some Sir Paul's solo output.
Whether that's what attracted Sir George, or whether that's his influence, only
Dan knows.
Naturally, it's beautifully recorded but the set as a whole lacks a commercial
slant and with one exception there are no tracks that have obvious 'hit single'
or 'extended airplay' potential.
The one exception is the closing track - Islands In The Blue - which has a
haunting early Chris De Burgh feel. It's an obvious highlight. But as whole the
album is likely to be embraced only by aficionados of the niche singer
songwriter market dominated by the likes of Rufus Wainwright. **½
Review by Pete Whalley
BELIEVE The Bread Is
Mine (Metal Mind )
Polish prog metal (yes really) that has a very modern feel.
It starts off slowly, and is very atmospheric. There are a lot of the quieter
moments of Porcupine Tree and modern Marillion. There is a definite feel that
less is more here, the keyboards back up the guitar well but gently. There are
various ex members of Collage here, and the prog is in a similar vein.
The use of instruments is good, giving a range of atmospheres, but vocals and
instruments alike seem to whisper at times.
Some good moments but it's all done so nicely it verges on new world / new age
progressive folk. OK maybe I'm being harsh, but it is prog rock for the coffee
table, or to sleep by. **½
Review by Joe Geesin
HAZY HAMLET Forging
Metal
www.myspace.com/hazyhamlet
Brazilian power metal that
verges on proto thrash.
The narrated intro is rather OTT, mixing Venom and Manowar - grandiose and naff.
The music isn't far off either. The riffs are good, some solos, chunky rhythms,
the vocals powerful, with some operatic layering and a forced feeling.
The music soon becomes a lot less Venom like (thank God) and at times the music
is almost catchy. Still rough and chunky though. The mellow moments are good if
a little out of place, the vocals a little too throaty or forced to be operatic.
Good, but I'd check them out online first. **½
Review by Joe Geesin
RUBY THROAT The
Ventriloquist
Ruby Throat are former Queenadreena and Daisy Chainsaw singer KatieJane
Garside and multi instrumentalist Chris Whittingham.
And The Ventriloquist is an evolving piece of work. The initial pressing of 500
copies sold out inside a week in 2007. The second, in 2008, was appended by 2
new songs. And now this 3rd 'edition' includes a second disc of 'extras' - an ep
of 4 new songs. Which is a bit of a bugger if you've previously invested.
If that's not conventional, then nothing about The Ventriloquist is. It's an
eccentric mix of English folk with an Americana blues subtext. KatieJane comes
across as a hybrid of Kate Bush and PJ Harvey. In other words, 'barking' - her
child like vocals eerie and haunting. It's a notion underscored by the album
artwork which includes a self portrait - half woman / half fish, and a poster
showing her emerging from a medieval drowning pool like witch returning from the
afterworld.
KatieJane's lyrics and distinctive, sparse and breathy vocals are supplemented
perfectly by the playing of Chris Whittingham. The moody ethereal set is based
around gentle acoustic guitar lines, a little subtle electronica, and some
lovely muted David Gilmour style slide guitar work.
It's not an album to have you rocking in the aisle, but at times is equally
beautiful and unsettling. Like making love to a nymph only for her to morph into
a member of the undead at the moment of climax. The Ventriloquist tests your
nerve in taking you to the edge - if you're brave enough to go there. **½
Review by Pete Whalley
PAINE'S PROMISE Mobius
Paine's Promise is, in essence, a wife / husband do-it-yourself project.
Veronica Hughes - a massage therapist by day, a closet rock star and guitar
tutor by night - writes the lyrics, sings and plays the six string, while hubby
Daniel sits behind the drum kit and helps with the songwriting. Dave Siff
completes the line up on bass.
So, a three piece female fronted rock band.
And they're clearly connoisseurs. With a clear love of progressive (as opposed
to 'prog') rock, there's clear Rush reference points throughout the set. In
fact, the songs are one of the strongest features of Modius - well constructed
with plenty of time changes etc to keep any fan of decent rock music engaged.
But thereafter it all begins to fall a bit short of the mark. The recording and
production are pretty flat - the album's clearly been put together on a budget,
and in truth Veronica's vocals only just pass muster. The same is true of her
guitar playing - as a riff and rhythm player she can hold her own, but the
material cries out for some rip snorting guitar breaks.
Which is all a great shame and adds up to a missed opportunity. Get the
songwriting right - and they have - and the rest can all be 'fixed' in the
studio with a little production magic and a hired gun. So, great potential. But
Mobius dates back to 2005, let's hope the band's next release can build on these
very solid foundation. **½
Review by Pete Whalley
LAHANNYA Defiance
Described as 'industrial rock' with a gothic twist, I'm not sure about
Lahannya.
Based around Lahannya - a singer, songwriter, performer and DJ, the full band
line up includes Lutz Demmler on bass, Belle on drums and Chris Milden on
guitar.
And Defiance, the band's second album is a concept album set against the
backdrop of a surveillance society where the non conformists has been banished
to live in London Underground tunnels. Sound familiar? Terminator, We Will Rock
You?
The ostracized resistance leader is wracked with guilt at his participation in
creating this future world hell. Sound familiar? Terminator 2? Anyway, what goes
around comes around …
Another feature of the 'project' is the artwork of graphic designer and comic
artist John Masse who has illustrated multiple Necromancer game titles.
So it all adds up to a somewhat stereotyped product. And as for the music, well
its good solid rock, pop and power metal. Well produced, well played and well
put together. But somehow, and I can't quite put my finger on it, it's soulless,
and somewhat contrived.
Designed to be all things to all men - spotty youths glued to their games
consoles and Dad's who like a hottie in tight black leather and Terminator style
story lines.
So, great image, great sound, but a little too formulated for my taste. **½
Review by Pete Whalley
CONSTRUCDEAD Endless
Echo
www.myspace.com/construcdead
Extreme metal, screamed
vocals, and small text in an extremely hard to read booklet (and I wasn't
provided with an inlay or press release. No I couldn't be cheered up by the free
sew on patch.
Oh you want more? OK then.
The album kicks off with 'Sedated Morning', a solid if noise extreme track, and
the vocals are forced and verge on screams at best. These vaguely coherent
noises are punctuated by high pitched screams that sound like a witch sent to
hell via a painful route, or a cat not anaesthetised during spaying.
'My Haven' is even more extreme, some of the growls pretty deep. Yes you need a
haven after listening to this.
The music is VERY brutal, ear ache inducing, but not quite monotonic. Some neat
guitar work, a good solo intro to 'Disfigured Beauty' but does get very
tiresome. The only track I experienced with half decent vocals and they were
shortlived. Even the more coherent vocals are a little tiresome and noisy, why
punctuate it with such screams and/or growls.
Extremely metal, extremely noisy, extremely no.
I make no excuses for not even trying to get to the end of the CD. I'd rather
feel my body explode during circuit training at the gym, which is where I'm
going now. **
Review by Joe Geesin
STRAWBERRY BLONDES
Fight Back
Just from the black and white packaging adorned by barbed wire and words
like 'persecution, genocide, homophobia, fascism, racism and intolerance' you
know this isn't going to be a couple of sweet strawberry blondes singing poppy
love songs.
No. Nothing of the sort. These Strawberry Blondes are three nut jobs from
Newport - Mickie Stabbs (vocals / guitar), Benji Riot (bass vocals) and Jay
Rebel (drums). Three guys stuck in a punk time warp with Ten Pole Tudor.
It's as if time has stood still since punk exploded in the mid 1970s, with a
barrage of 15 explosive rabble rousing anthems that add the occasional drop or
two of reggae (a la The Clash / The Specials) when the pandemonium briefly
subsides (which isn't often).
Fight Back is for angry people with a chip on their shoulder who want to drink a
lot, shout a lot, throw beer over each other and generally have a riot. Not one
for listening to in the arm chair after a hard day at work with a gin and tonic,
but if you want to re-live those days of punk madness and make a mess of
yourself down the local pogo pit...
Strawberry Blonde won't be most people's cup of flem, but full marks for doing
what they want to do and having a damn fine time doing it. They really do bring
memories of that sweaty, riotous punk wave come flooding back. Ah, salad days.
**
Review by Pete Whalley
DESPITE In Your Despite
www.myspace.com/despitegbg
From the opening bars you
know you are in for something brutal, with fast and brutal guitars and drums. Ok
I think, not too bad for thrash. Then the throat comes in. I say throat because
that's what's listed on the CD, and to call it singing would be an outright
light. An elephant defecating napalm through a cheese grater would be more apt.
Halfway through the first song the vocals almost become coherent, but then
you're back in the gravel pit.
'Beast In The Gags' does start off with some good guitar work, a decent riff,
but the screams and grunts sound muffled, that isn't vocals, it's just a noise.
A painful noise.
The intro to 'Mechantical' starts off a slow build up in a nice way, keyboards,
could be prog, but then in comes the programming, and the distortion is muffled,
a very odd mix. This leads into 'Grehate' and you're back to the cheese grater
thrash.
I would say that listening to this is akin to dipping one's testicles into
sandpaper, then vinegar, then a cement mixer full of broken glass, and screaming
through a muslin sack, but I think the ‘singer' beat me to it. Ruins the rest of
it, even the half decent moments. *½
Review by Joe Geesin
SYCRONOMICA Sycroscope
It is a bit bad when you have to Google an album title to find out who on
earth has released it!?
Right! That's it, I've got to moan. Black metal is old, tired, and not fun and
no where near original anymore. It's not fashionable and it is certainly not
meaningful. Not only do these bands have to use logos that cannot be read or
understood (especially this one), but they also have to follow suit of the
boring 'Cradle of Filth'. There's a reason why crowds throw bottles of urine at
you; get a life god dammit!
So, now you have an insight on how this album has made me feel. Bored and angry,
simple as. Your usual un-rhythmic nonsense, vocals that might as well be in
gibberish and a poor attempt of a drum machine that just continuously drones on
in the same speed. I can't even tell if the language spoken is English, German,
or whatever; but hey who cares.
Screaming, low gruff vocals, silly gothic keyboards and no temp changes, one
hell of a frustrated Yawn! Listen to any Black Metal album and you will get my
drift of what this sound is all about.
Do not waste your hard earned cash on this album, spend it wisely and buy a Take
That CD instead (yes, that is pure sarcasm).
Sorry, but in Simon Cowell's world "You just..don't have it".
Review by Fluffmeister
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