EMERALD SUN: "Regeneration"

Rating: 8/10

Label: Pitch Black 2011

Review by Alan Holloway

Now this could be something to excite all you fans of melodic power metal out there: a full on high speed Greek affair that’s positively bursting with energy and excitement. Seriously, it’s pretty bloody good.

With their second full length release, Thessaloniki’s Emerald Sun go straight for the jugular without pausing for breath. “We Won’t Fall” really pumps out the melody with a mixture of new and classic metal styles that stays throughout the album. As someone who likes bands such as Stratovarius, Dragonforce and Firewind, I was immediately hooked by the pounding bassline and heavy harmonies. The album doesn’t let up, aside from a dull 2 minute instrumental in the middle, with each track throwing everything but the keyboard player’s underpants at you. I particularly enjoyed “Planet Metal”, a track that gave me a warm nostalgic glow and made me think of classic Helloween, “7 Keys” era. Stelios "Theo" Tsakirides has a great voice for this sort of music, and the rest of the band are incredibly tight. As a bonus, there's also a cool version of Bonnie Tyler's old chestnut "Holding Out For A hero" that I so want to hear live.

I absolutely love melodic power metal when it’s done with real passion and talent, not to mention at top speed with great hooks, and Emerald Sun have produced an album that can stand up against some of the best. It’s not perfect, as the mid paced “Chasing The Wind” just doesn’t work at all when set against the rest of the album, and the twelve minute album closer “Fantasmagoria” is perhaps a little too ambitious, but these aren’t deal breakers by any means. If you like power metal with a huge melodic stick up it’s butt, then check these guys out, because they will make you smile.

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BENEDICTUM: "Dominium"

Rating: 5/10

Label: Frontiers 2011

Review by Alan Holloway

These days it makes a nice change to get an American metal band to review, as Europe seems to be taking over the world metal scene (and deservedly so). Benedictum, fronted by the memorable Veronica Freeman, are giving it their best with this, their third album.

Having seen them once, I pretty much expected an album of powerful heavy metal, and this is what Benedictum deliver, with no real frills or pretension. Freeman has a good voice, although certainly not (as has been said somewhere) 'One of the truly most extraordinary voices in metal'. She does the job without resorting to gutteral grunting, and can hold a tune, so that's enough for now. Musically, Benedictum chuck out some very heavy songs with enough melody to keep the more casual rock fan interested. This isn't full on facemelting metal, and if you like well structured songs with big ass riffs and pounding drums there's something here that may get your head banging, but don't get too excited. The thing is, "Dominion" can be a real slog to listen to, as it's all rather samey and often uninspiring. I've bene listening to it for what seems an age, and find it hard to get through more than half of the album without my mind wandering.

Benedictum certainly have a market out there, as it's rare to find such a competent female fronted heavy metal band that doesn't resort to gimmicks or are just plain crap. In the end, it's just not my sort of thing, I suppose, so if you're even a bit curious give them a listen and make up your own mind.

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SCHEEPERS: "Scheepers"

Rating: 6/10

Label: Frontiers 2011

Review by Kimmo Toivonen

Jeepers Creepers... it's Ralf Scheepers, the vocalist of Primal Fear and formely of Tyran Pace & Gamma Ray. Apparently he was almost chosen as the replacement for Rob Halford in Judas Priest back in the nineties. Now he has released his first solo album, on which he pursues his personal musical ambitions. Fans need not to worry, he has no ambitions to become a folk or country singer or anything weird like that, this album is very much in the metal vein.

The album kicks off with the Judas Priest-like fast'n heavy "Locked In The Dungeon", which doesn't really win any points from me. Scheepers' vocals just way too over the top, and some of the shierks are like fingernails scraping a chalkboard. Next please... and it's "Remission Of Sin", a stomping teutonic metal track straight from the songbook of Accept and U.D.O... the background vocals, the riffs... I don't have the credits, but I wouldn't be surprised if this was an Accept leftover. Interestingly, Tim "Ripper" Owens, the guy who actually became Priest's singer when Scheepers was also considered, duets with him on this track. Third track "Cyberfreak" flirts with modern metal elements, but doesn't convince me either. So far, not so good...

"The Fall" is more to my liking, Scheepers keeping his shierks in control, and the track actually has a good, melodic chorus. The epic "Doomsday" isn't too bad either, and I kinda like the Tyran Pace remake "Saints Of Rock". Scheepers' Judas Priest cover "Before The Dawn" isn't what you'd expect, it's a delicate ballad instead of the expected metallic fury.

After a couple of rather unremarkable tracks, we're treated to a balladic number called "The Pain Of The Accused", which is one of the stronger tracks of the album. It features Gamma Ray’s Kai Hansen on lead guitar. "Play With The Fire" offers some blistering guitarwork, but lacks a decent hook. Just one more track to look into, which is the acoustic ballad "Compassion", a nice and laidback way to end the album. And something completely different from the rest of the album.

If traditional metal is what you like, this might be something you should check out. Scheepers is certainly a capable metal vocalist, too bad that some of the songs are a bit average.

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DIRTY PASSION: "Different Tomorrow"

Rating: 8/10

Label: Denomination Records 2010

Review by Kimmo Toivonen

With a name like Dirty Passion, it's not surprise that this band has been lumped together with the New Sleaze Generation of Sweden, all those spiky haired hoodlums like Crashdiet etc. Having seen the band live, although quite briefly, I have to say that they are a bit more down-to-earth when it comes to the image. Musically there are more similarities - Dirty Passion have created a cool melodic hard rock sound, somewhere between early Skid Row and vintage Dokken, with a bit of Hanoi Rocks' sleaze thrown in. Sounds good? You bet it does!

Each one of the ten songs on the album has a very decent chorus, with solid background vocals supporting Emil Ekbladh's likeable lead vocals. Christopher Olsson chrurns out catchy riffs as if it was the easiest thing in the world to do, and the rhythm section of Markus Winberg (drs) and Björn Wilander (bs) keep it groovin'. The only thing that I'm not so sure is the production, which is a bit raw. It's probably just what the guys were after, an authentic reproduction of the band's sound, but I don't know... All these years of listening to those ultra-polished and layered classics may have had an effect on me. I could've use some more "gloss"...

The highlights: "This Is The Way", "1.000.000 Voices", "Liar", "Selling Your Soul"... but they're all good, really. Not necessarily "The Song Of The Year" material, but good. A lot of Swedish hard rockers have already bought this album (it's been several weeks on the charts) and if my description of the album sounds good, you might want to do the same.



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TEN: "Stormwarning"

Rating: 7/10

Label: Frontiers 2011

Review by Alan Holloway

The release of “Stormwarning” has brought out plenty of internet grumps who are just fed up of Ten, and seem to think that Gary Hughes should just give it all up and become a lion tamer or something. Oh yes, and they’ve been rubbish since Vinnie Burns left, and I should know because I said so. And so on…

Personally, I have always liked Ten well enough and was looking forward to this, the first release for five years. You pretty much know what to expect with Ten, and it’s a bit of a shame that “Stormwarning” doesn’t attempt anything at all new, with Hughes seemingly content to roll out an album of mostly mid paced rockers polished to perfection by the ever reliable Dennis Ward. It’s immediately apparent that this isn’t going to be an album to tempt back those who have fallen out of love with the band, but long term fans won’t be disappointed.

Gary Hughes has certainly not lost his knack for writing solid rockers with decent hooks, aided and abetted by some very smooth guitar from Neil Fraser and John Halliwell, whilst Paul Hodson’s keyboards are integrated into every track. Each song is between five and eight minutes long, with no three minute attempts at pop stardom here. It’s nice that none of them outstay their welcome, as there’s plenty going on in each to fill the runtime without the listener getting the urge to press the skip button. I’ve never been overkeen on Gary Hughes vocals, (as with every other Ten album I kept imagining what the tracks would sound like if sung by Coverdale), but Hughes does a good job with what he has, his vocals basically the same as they have been on every other album.

Ten tracks and an hour of music are what you get with “Stormwarning”, and although it lacks any real killer tracks (“Name Of The Rose” was always my favourite), it’s by no means a poor album. If you’re a fan of Ten don’t let the internet naysayers keep you away from this, as although flawed it’s still a reminder that there’s life in Ten yet.

WANTED: "Too Hot To Handle"

Rating: Studio/Live

Label: Eonian Records 2011

Review by Urban "Wally" Wallstrom

"Too Hot To Handle" - it's basically a split compilation CD consisting of seven studio tracks and seven live ones from Wanted's sold out Capitol Showcase at the legendary Ritz Music Hall. Who are what are Wanted, you ask? Well, it's yet another retrospective release and the band exploded into...ehem, onto the Indianapolis music scene back in 1989. Yep, it's the same old story of talanted melodic hardrock band gone sour due to grunge in the early nineties. They shared the stage with other local acts such as Sweet F.A., Schoolboy Crush, MA Kelly, etc. and thus gaining a loyal fanbase and following in the midwest U.S. of A.

Wanted hooked up with manager Bob McCutheon (also responsible for MCA recording act: Sweet FA) and found themselves opening for two major acts in Enuff Z'Nuff and Bad English. They showcased for various major labels and Geffen Records actually awarded them a contract in 1990. They were brought down to the Cherokee studios in Hollywood where the band recorded the tracks "Be Still My Heart" and "Lost In Me Forever" (both obviously included on this CD) and everything seemed to be honky dory in the Wanted camp. Not for long though as the relationship between label and their management went south, soured, and eventually dissolved, killing any chance of recording a full length album at Geffen. In other words, someone (their manager?) f**ked up big time and it's probably all down to money (what else???).

The twin-guitar attack rock alongside strong vocals provided by Robert 'Bobby' Sisk, speak of quality and melodies steeped in a similar formula to above mentioned acts, as well as Motley Crue, Skid Row and Steelheart. It's hardly groundbreaking nor unique sounding hair-metal, however, it's all about party music and having a fun time. The first five tracks were all recorded (demos) in 1989 and numbers such as "Whiskey & Women" and "Another Day" are (pretty darn fun) sleaze anthems of the typical hair-metal era. Very much done in the style of "Girls Girls Girls" (the Crue album) only not quite as impressive of course. The two 'Geffen' recorded songs (#6, 7) are obviously the best sounding ones and they're not too shabby at all really. The last seven tracks are all "live" recordings and comes with a really dodgy (poor) sound quality. Final verdict: Not bad, not bad at all, you can only imagine what could have been if not for the Geffen debacle.

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ONE GLIMPSE AWAY: "1991 EP"

Rating: EP

Label: Indie 2011

Review by Urban "Wally" Wallstrom

One Glimpse Away is an impressive power-trio from Russia and their latest EP is simply entitled "1991". I know that some of you are (still) thinking: dodgy production, ditto horrible vocals (broken english), etc, etc. Nope, sorry to disappoint you all, but that's (mostly) Russia of the past (eighties/nineties). This is the new generation and their acts are just as good as any other band outside of the English speaking countries of course. This particular power-trio create a breadth of musical styles that range from the Nirvana inspired opener "H.E.I.H.E." to the ultra catchy and radio friendly (My Chemical Romance) rock of "On My Wings Of Sin" and "This Routine".

Eclectic to say the least!!! They certainly enjoy to spice things up by adding a bit of Coheed and Cambria (especially their first couple of albums) as well as Weezer influences. Other tracks are straightforward metal, but most of them start with with a quiet, moody part, move on to a bit of a racket in the middle, before exploding into a super catchy refrain. I like it, it's very 'out there' and modern, yet with a nice retro thinking and it's all very professional done. "Here For Us" and "Alive" are two great tracks nearly as good as any MCR and the closing one reeks of fun Rock/Punk in the vein of Weezer vs. Green Day. They are definitely too impressive to be independent and "1991" comes highly recommended by this reviewer. Check out link below for more info and tracks.

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TWISTED SISTER: "You Can't Stop Rock 'N Roll"

Rating: *Classic Album Reissue*

Label: Eagle Rock/Armoury 2011

Review by Urban "Wally" Wallstrom

"You Can't Stop Rock 'N Roll"- Primitive meat and potato hard rock? or simply just Twisted 'Fookin' Sister at their very best? Well, sign me up for the latter as this is what it's all about really. It's meant to be primitive, you're supposed to feel the smell of burning flesh, the insanity of dressing up like bozo the clown (if he ever came out as a psychopathtic cross-dresser), and not to mention the raw nature of the SMF's!!! In fact, there's perfect lyric to match from the track, "We're Gonna Make It" (one of their most underrated songs), and I quote: "Been fighting for so long, don't know which way up is. Been stuck and ripped and burnt 'till it feels like nothin'. Our time will come and when it's over and it's done. Those fools are gonna know that we ain't bluffin", end quote.

This classic album was originally released back in 1983 and it's now been remastered with three bonus tracks (One Man Woman, Four Barrel Heart Of Love, Feel The Power) by Eagle Rock. A previous set of reissues on the Spitfire label were of intensely dubious quality back in 1999. Unfortunately, I can't compare the two since I've only got the "original" or rather the first CD release. I must say that it's (still) lacking some punch and I'll probably continue playing the first issue. Then again, I always tend to prefer originals (unless it's a completely messy record of course).

Yep, it's pre-MTV fame, and the band had just played a stunning performance on the U.K. TV show "The Tube", so Atlantic Records in the states pretty much had to sign them to a major worldwide deal and this was their first minor break-through. Merely the U.K. loved TS enough in the past to award them with a recording contract (the debut "Under The Blade") while the U.S. labels regarded them as freaks. I'm sure they had no idea exactly what kind of freaks they were dealing with. Clever chaps, shortly afterwards the band were in possession of remote mind control of all the kids, and to the horror of Tipper Gore, transforming them into SMF's!!! From the opening stomping feets of "The Kids Are Back" to the (original) closing title track, this is just raw and prefect hard rock music.

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DEAR DIARY: "Dear Diary"

Rating: 5/10

Label: Eonian Records 2011

Review by Urban "Wally" Wallstrom

Straight out of the harlequin novels, I believe? Dear Diary?? Dear Lord!!... are they soft or simply just posh and the new/old Spice Girls??? Nope, it's yet another melodic hardrock discovery from Chicago in the late eighties, only to expire in the early nineties due to grunge. Yeah, yeah, we've all heard the story before and the fine people at Eonian Records are definitely experts at digging up these sorts of bands after all. They've done much better 'dig ups' in the past though. These particular sort of archival recordings are sourced from several eighties demos as usual and the quality may not exactly qualify as top notch.

According to the press-release the band rocked and stomped through practically every big name club out there, opening for Lillian Axe, Bullet Boys, Lynch Mob, and other popular mainstream melodic metal bands. ...And whatdoyaknow, Dear Diary sound exactly like any mainstream melodic hardrock act of the very early nineties and I sort of understand why they never hit a homerun past their hometurf and Chicago area. It's so bleedin' safe, so MTV friendly and mainstream that it hurts!!!

There's no such thing as 'outside of the box' material on this platter and the singer does not seem to be having a good time in the studio since it's close to borderline off-key at times. They do have a couple of really catchy tunes and I guess it's enough to attract some people to have a peek at their diary entries: Monday 15th of April 1988 - used ten cans of hairspray - momma said: turn down the volume, and for God's sake - don't light a match!!! The ozone layer is looking good - I might just use another ten cans tonight!!! Radical!!!

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STRATOVARIUS: "Elysium"

Rating: 8/10

Label: SPV/Steamhammer 2011

Review by Urban "Wally" Wallstrom

First things first, this is a great limitied edition high-class digipak packaging with an additional CD with demo versions of all album tracks, exclusive 5 photocards set with holographic effect and everything. Very flashy!!! Secondly, what's YOUR honest and overall opinion about a band without a single original member??? Yeah, that's what I thought... it's just as insane as going ahead with a "Thin Lizzy" reunion w/o Lynott (where were they when Phil needed them?). Stratovarius is obviously the band, brand, hard work and determination of guitarist and ringleader Timo Tolkki. All those years spent working in obscurity since the early/mid eighties. So what if he f**ked up and decided to get rid of the old gang and replace them with a virtually unknown female vocalist? His band, choice(s), and mistake(s)!!!

...And just for the record, Tolkki isn't an old friend and I'm neither a huge fan of the band. "Visions" -their classic album and magnum opus, they'll probably wont do another masterpiece ever again. To be frank (nope, I'm still 'Urban'), these guys should never have continued making music under the 'Stratovarius' monicker (especially since we all know it's all about the $$$). Thirdly, nevermind the b.s. what about the actual music??? Good point there, I almost forgot about the music during my rant, huh? Low and behold, it you look past the misplaced monicker, "Elysium" is more than worthy of your attention as well as multiply listens. It's a huge step in the right direction and it's definitely the most appealing album that Stratovarius has released in many years. Fair enough, it's really not that difficult to proceed from previous lame attempts such as the self-titled 2005 album and "Polaris" in 2009. Nontheless, it's a nice and cozy little CD with plenty of fine moments. Just a little bit too soft to be proper "power metal", huh?

The fact that the band have toured with Helloween becomes immediately understandable as several tracks bears more than a little resemblance to those German kings of power metal. It's overall a rather mid-paced album and you can simply forget about finding many or any speedy double-bass drumming (galloping) tracks. It's a solid display of 'poppy', neo-classical, power metal and the work of keyboardist Jens Johansson is top notch as usual. He's even managed to compose a couple of not too shabby numbers in "The Games Never Ends" and "Move The Mountain". The track, "Infernal Maze", exactly like Yngwie Malmsteen in the very early nineties (think era "Eclipse" and "Fire & Ice") and the same goes with "Fairness Justified". Strangely enough, the work of ex-Malmsteen keyboardist Johansson (The Games Never Ends) sounds more like Helloween??? Final verdict: a very solid work by the former members of stratovarius?? It's all very mid-paced though... but still good.

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MAGNUM: "The Visitation"

Rating: 5/10

Label: SPV/Steamhammer 2011

Review by Urban "Wally" Wallstrom

Magnum - it's been hits and misses ever since their comeback really!!! To each and every great album there's been a real turkey (in my personal and very humble opinion of course), and thus why I really wished and hoped for a winner this time. No such luck though, "The Visitation", could merely be described as a rather dull and average Magnum album. It's all been done before and better I may add, by this Birmingham act, one of my all-time fave "soft-rock" bands in the past.

Nope, I'm sorry, but... Tony "The Hat" Clarkin doesn't impress and it's perhaps time to let someone else have a go at songwriting? Or at least co-writing??? It's like you're listening to one of all those really poor TEN albums where it's all a blur of dodgy melodies and ditto arrangements. There's nothing new or exciting in terms of sound and it's a shame when you're thinking: "sure, that's a decent first track" and it turns out to be one of the best songs off the album. Prior to the hard hitting guitar riff, which the opening track "Black Skies" is based around, there's a slow, up-building keyboard intro by Mark Stanway that oozes of long gone days, perhaps even "Chase The Dragon" material. The refrain on the other hand is very dark and twenty eleven. The real star on this platter, Mr. Bob "The Cat" Catley!!! His voice is ever so present as usual and also the main reason to why I didn't fall asleep at times.

It's obviously all very professional done and executed and old fans will always find something to cheer about. Yours truly is especially fond of tracks such as "Wild Angels" and "Mother Nature's Final Dance". On the other tip of the scale, "The Last Frontier", it sounds more like a third rate ballad 'ala ABBA, while "Tonight's The Night" is just bland, bland, bland (and the same goes for several other tracks). Perhaps I'm being extra harsh on the band since I expect so much more and better? To be honest, I even spent another week or two of listening to the CD, desperately trying to find the secret ingredient and reason to why some reviewers are saying this is one of Magnum's best albums??? They must have been listening to a completely different CD (well, it's always "their" fault, huh?).

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FINAL AXE: "Beyond Hell's Gate (Collector's Edition)"

Rating: 3/10

Label: Retroactive 2010

Review by Kimmo Toivonen

Originally recorded in 2005, this "heavy metal classic" from one of Bill Menchen's many Christian Metal projects has been remixed, remastered and partially re-recorded. With a new artwork to boost, this re-issue is now a "Collector's Edition". Funny, I thought that the original, limited edition would be more collectable than this version, which will get a wider release?

I'm sure that this CD will find its' way to several Christian Metal collections if only for the fact that Robert Sweet of Stryper plays the drums on it. Some people really have to have everything by Stryper and related acts... and sure, there are a few metal heads who'll get a kick out of this because of the music, but I'm afraid I'm not one of them. "Beyond Hell's Gate" is simply real "meat'n potatoes" metal, the kind of stuff that bands like Anvil have churned out for years, chainsaw riffs and choruses that consist of the track title repeated over and over again. Enjoyed in small portions this is okay, but a dozen songs in a row... not very enjoyable at all.

Extra special mention has to go to the intro and the outro bits - I'm sure they're supposed to sound orchestrated and pompous, but they actually sound like they were done with a cheap casio keyboard choir sound or something.

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MISS BEHAVIOUR: "Last Woman Standing"

Rating: 8/10

Label: Avenue Of Allies 2011

Review by Kimmo Toivonen

Back in 2006 I reviewed the first Miss Behaviour album, gave it 6/10 and wondered why the vocals sounded off-key. At the same time, I congratulated them for the fine background vocal work, courtesy of Sebastian Roos (of the band Shineth). Now some 4 years later, the band has revamped line-up, and replaced the old vocalist with the aforementioned Roos. They also recruited a new drummer, Anders Berlin, who was also a member of Shineth previously.

As far as I recall, the band's sound used to be more metallic compared to their current hard-edged AOR style. The slightly more melodic, keyboard-driven approach sounds good to me, and the band has managed to come up with a good album. Sebastian, the "new" guy behind the microphone has a good, if a bit nasal voice, which suits this kind of rock just fine. Henrik Sproge's keyboards are the forefront, but don't dominate the sound. There's plenty of cool guitarwork to be found here, including a guest solo by Roland Grapow on "Perfect War", one of the heavier tracks.

My favourite tracks of the album include the stomping opener "1988", the highly melodic "Cynthia" which reminds me a little of an old Finnish eighties hit "Spanish Bars" by Paul Oxley's Unit and the classy ballad "Till We Meet Again". Strangely enough, my least favourite songs are the ones featuring guests - not because of the guests, but somehow both "Perfect War" and the title track are a bit plodding for me.

Anyway, fans of the Scandinavian AOR/Hard rock bands should check this album out, as they'll hear echoes of Europe, Treat, Pretty Maids and others. Good work!


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SERENITY'S END: "Dead Waters"

[* A & R Dept. Review *] 2011

Review by Satu Reunanen

Finnish Serenity's End are out with their fourth promo release. The band has gone through some changes in seven years, also with the line-up, but musically they continue the style of the previous release "Silence In Grey" (2009). This style of melodic mid-tempo metal with clear and grunt vocals fits them fine, although I don't see them standing out from the huge mass of other todays metal bands. That being said they still make great metal, and this three song promo with "Dead Waters", "Mournful Elegy" and "The Last One" shows various talents in the band.

With the talent of these four guys and one girl I wonder why they are still releasing only promos. Their material carries as well as so many other recorded bands out there, even if they don't bring out anything new on the table. The songs are powerful, the keys flow nicely in the background, both vocals work as they should, the songs have their striking moments and the rest of the band are probably sweating like hell behind their instruments giving the music the final dynamic touch. They carry nuances of so many metal bands of today, but also have that dark melancholic gothic touch, that reminds a bit of Poisonblack. Which is funny, 'cos Serenity's End also comes from Oulu. I'm sure it's just a coincidence, 'cos there's so much more here to find.

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BAD HABIT: "Atmosphere"

Rating: 8/10

Label: AOR Heaven 2011

Review by Alan Holloway

Last year, I rather enjoyed breaking my Bad Habit cherry with their impressive compilation "Timeless", which showed a highly competent melodic rock band not afraid to chuck together big, wimpy songs that ticked all the right AOR boxes with a fluffy pink pen. Well, they've resurfeced with full album number ten (which doesn't include the best of's two bonus tracks) and they show no sign of slowing down or metalling up, which suits me fine.

"Atmosphere" (thankfully no Russ Abbott covers here) is one of those albums that could be given out at the AOR academy on the first day with the instruction 'Do it like this', as the students arrive with their cans of hairspray and vintage F.M shirts. In the notes, it mentions the importance of a 'Big Fucking Chorus', and this is adhered to throughout, be it with lighter waving power ballads like "Fantasy", or more AM radio friendly stuff like the opening track "In The Heat Of The Night". Bax Fehling has a very good voice for this sort of stuff, although quite generic, and although you're not going to be leaping about with the air guitar there's plenty of nice solos Sven Cirnski that the 'R' in AOR stands for Rock, after all.

Bad Habit are a fine example of radio friendly melodic rock, sitting somewhere between early F.M and the more mid paced moments of Danger Danger. They rarely get up a real head of steam, and I could have done with a few truly kick ass rock tracks, but they do what they do very well indeed, and nothing here fails to get the head nodding and the foot tapping. Pure AOR, delivered and produced to perfection, "Atmosphere" is a very hard album to dislike, so I'm not going to try..


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TNT: "A Farewell To Arms"

TNT - "A Farewell To Arms"

Rating: 8/10

Label: Metal Heaven 2011

Review by Alan Holloway

Since Tony Harnell left, TNT haven't exactly managed to regain any past glories with current vocalist Tony Mills. It's nothing to do with the singing, more that the two albums released with him just haven't been very good songwise. There was a promise that this album would attempt to hearken back to the traditional TNT sound, which was good news for everybody, and I can happily report that this is pretty much the case, or as close as they're going to get without Harnell.

"A Farewell To Arms" is a pretty heavy album at times, as well as being very melodic all the way through. There's a real belter in the shape of "Take It Like A Man - Woman!", which has elements of Judas Priest and The Scorpions in equal measure, as well as a blistering solo. Those after more traditional harmonies can find them in the simply brilliant "Don't Misunderstand Me", which has a chorus that just won't quit. "Come" has a similar effect, whilst "Barracuda" is a raucus old school rocker that should sound great on stage. Also worthy of note is the melodic but heavy title track, where once again Ronni Le Tekro really gets to let rip on the solo. There's even a soppy ballad at the end, but "God Natt, Marie" is actually a very beautiful track, allowing the listener a bit of breathing space after all the preceding guitarwork. European purchasers are treated to a live version of "Harley Davidson", from the bands debut nearly 30 years ago. It's a nice touch, but an awful track.

I suppose it's certainly a more aggressive album than some of their older ones, and I don't think it's going to change the minds of those who are welded to the belief that it's not TNT without Harnell. Nonetheless, it has some stellar tracks and it seems to me that the band have finally managed to make an album that suits Tony Mills voice whilst retaining their melodic heritage as well as progressing into a modern direction. Without a doubt this is the album they should have recorded two discs away, and I would urge those maybe put off by the previous two to give TNT this one more chance, as you'll find they're worth it.


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THREE MINUTE MADNESS: "Disgraceful"

Rating: 8/10

Label: Supernova 2011

Review by Urban "Wally" Wallstrom

The first thing you'll notice about this particular metal band? Their complete and utter retro sound 'ala Seattle rock at its very peak. Indeed, Three Minute Madness from the northern town of Umeå/Sweden are flirtin' with grunge rock and groups such as Alice In Chains, Stone Temple Pilots, Pearl Jam, and Soundgarden, on their rather impressive debut album. Having almost forgotten the uplifting nature of "grunge" and the always gleeful sight of flannel-heads (not quite right, huh?), it was honestly refreshing to witness a band trying to pretend like it's still 1994 out there.

The first 'Disgraceful' track, "Take Me Away", lyric-wise, not as much one of serious drugs and prozac-addicts like their old heroes. However, they certainly can't leave out a line (heh? white-line?) such as "you're like my cocaine", end quote, and God bless them for at least trying to be miserable. Sure, the whole nineties sound of Seattle is a bit excessive and exaggerated. But... behind every generalisation there's a gain of truth and Three Minute Madness are simpy just keeping the flame alive. It's actually burning quite strong and ever so brightly on this platter and in most of their miserable singalong rock songs, you cannot help to grin along to their fun loving attitude and concept. "Open Eyes", very much in the vein of Soundgarden 'ala "Black Hole Sun" and the more commercial sound of the band in the mid/late nineties. The previous track will remind you of Alice In Chains and the following one reeks of Pearl Jam.

I'm sure you'll get the basic idea by now. It's basically a mish-mash of Swedish craftmanship and all the Grunge acts with the sole exception of Kurt Cobain and Nirvana. There's a good tension in their music and they've got a knack for coming up with strong choruses. In fact, the only real downer/stinker on this CD, "Friend Or Foe", since it feature a corny hook 'ala Clawfinger at their worst. Closing track, "Graceful", doesn't really click for that matter. Nontheless, a rather impressive debut, great production, and vocalist Fredrik Norman is a star in the making.

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SAREA: "Alive"

Rating: 5/10

Label: Supernova 2011

Review by Urban "Wally" Wallstrom

Sarea, the outcome of this platter is easily influenced by acts such as In Flames and Children Of Bodom, and just a hint of Soilwork. The Swedish band remain firmly within a melodic metalcore, death metal structure, you know, clean vocals and standard arrangements, but also have a lot of aggressive tendencies and desperate cries within these eleven tracks of metal. It's nicely played melodic death and vocalist Christoffer Forsberg is more than capable of switching from sinister to evil on several occasions (especially on "Nemesis", "Boderline" and Blind"), but unfortunately lacks any real spark. "Kings Of Lies" features some atmospheric work by mentioned Forsberg, but the backing fails to match the intensity that this particular song require. They do have a bit of a technical edge and "Alive" do feature the few odd riffs and curve balls every once in a while. They obviously know how to pen a couple of decent tracks or three, I guess they simply just need to work through some material to finally hit a homerun.

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DANGER ZONE: "Line Of Fire"

Rating: 8/10

Label: Avenue Of Allies 2011

Review by Alan Holloway

Apparently, this is the one we’ve all been waiting for. Seriously! Recorded back in 1989, Danger Zone’s second album was hotly anticipated (it sez here…) but never released due to the usual record company/money ins and outs. As they’re an Italian band, it seems right that the new, hardworking label Avenue Of Allies should be the ones to dig it up, polish it a bit and finally allow it to see the light of day. News that the band are back together and recording a follow up will no doubt please those who helped this one gain ‘underground cult status’, but if I’m honest I haven’t a bloody clue who they are.

It’s immediately apparent why there was a bit of a fuss about “Line Of Fire”, as Roberto Priori’s introductory widdle gives way to some awesomely wimpy keyboard and guitar riffage with both feet firmly planted in the Eighties. Vocalist Glacomo Gigantelli has a good, throaty voice with some impressive pitch to it, and the whole thing is incredibly hard to dislike if you like your rock music wimpy and retro. The songs are all good, and there’s even a very good cover of “Children Of The Revolution” that doesn’t make you want to cringe. Ballad “Walk Away” goes a bit too far to the wet side to be of much use, although “That’s Why I Fell In Love With You” is much better. They rock it up a bit on the speedier “The Hunger”, but even then it’s pure AOR rather than heavy rock.

I have a feeling that if I had owned this on record twenty years ago it would be one of those albums I would love to have on CD, so there must be people who saw the band live back then who are salivating at the prospect of finally hearing these tracks recorded. This is a very strong late 80s slice of AOR, full of catchy tunes and good musicianship, and I hope that the new material is as good, because Danger Zone deserve a second shot at the AOR title.

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HELL IN THE CLUB: "Let The Games Begin"

Rating: 8/10
Label: Avenue Of Allies 2011
Review by Alan Holloway

Apparently, you should never judge a book by it’s cover, although if the cover has Westlife anywhere on it you can be pretty sure it’s a shit book, so that’s bollocks then. I suppose the same goes for CD’s, and anyone put off by the name Hell In The Club and their rather misleading cover should take a few deep breaths and give them a chance, because incredibly “Let The Games Begin” is a sleaze/party rock album, and a good one at that.

I’m not any sort of expert on the Italian metal scene, but can tell you that Hell In The Club are the brainchild of Andrea Buratto, bassist in Secret Sphere, who roped in vocalist David Moras (also known as Damnagoras in Elvenking) and guitarist Adrea Piccardi, with drummer Federico Pennazzato completing the line up. Much like Brother Firetribe, this seems to be a bunch of musicians known for much more serious stuff getting together to make fun music and being rather good at it.

“Let The Games Begin” takes its cue from the likes of Motley Crue, Skid Row and even Danger Danger or Poison, throwing sleaze, metal and rock and roll into the same melting pot. The tracks are nicely upbeat, the solos fun and intricate, and Moras’ vocals suit the style perfectly. There’s a fantastically upbeat cover of Sam Cooke’s “Saturday Night” that seems to sum up what the band are about perfectly - just having a good time. Their own songs are all a pleasure to listen to as well, designed to make you tap your feet and smile. There’s even a decent power ballad, “Star”, and it all adds up to an album that, although not anything new, brings the old back in an entertaining way. Good time party sleaze from symphonic and folk metallers - who’d have thought it!

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HURTSMILE: "S/T

Rating: 8/10

Label: Frontiers 2011

Review by Alan Holloway

This is an odd little album, coming as it does after the rather good Extreme album “Saudades De Rock”. The difference here is that vocalist Gary Cherone has brought in a new set of musicians to play with, including his guitarist brother Mark, whom he says he has wanted to write an album with for a long time. Fair enough.

“Hurtsmile” kicks off very positively, as “Just War Theory” sees them crank it up and deliver a punchy, cool uptempo track that would fit nicely on any Extreme album, with Cherone sounding scarily like John Lydon at times, although much better, naturally. The Extreme-ness continues with “Stillborn”, which shows off the Cherone brothers funk sensibilities very well, and also that Mark is a pretty damned good guitarist. You get the feeling more and more that this is a protest record, mainly protesting about man’s inhumanity to man. “Kafue (Infidel)” is about beheaded by the Taliban journalist Daniel Pearl, whilst “The Murder Of Daniel Faulkner” closes the album by telling a moving Dylanesque tale of the murdered Philadelphia cop.

This is definitely a record of two halves, as the first half jumps in your face with some excellent high energy funk rock (as well as a gorgeous ballad in the shape of “Painter Paint“), whilst the second heads for a more eclectic destination. The acoustic, funky and rather gospel “Jesus Would You Meet Me” would fit into any modern day church revival meeting, all happy clappy and horrendously catchy to an Atheist (it’s always sort of embarrassing to be caught singing along to something like this, but what the hey). I’m not at all keen on the reggae version of the opening track, which seems like a bit of a needless indulgence, whilst the overlong ballad “Beyond The Garden (Kicking Against The Goads)” doesn’t half go on a bit, but everything else is pleasingly done.

This is an unusual album with enough of the familiar to draw in and capture Extreme fans, sprinkled with a flavour of originality and soul that will give the listener that little bit extra that doesn’t come from your bog standard melodic rock release. Gary Cherone sounds great throughout, and there’s a feeling that this is a very personal record, albeit one that should find plenty to share the messages within.

www.myspace.com/hurtsmile

MR.BIG: "What If"

Rating: 10/10

Label: Frontiers 2011

Review by Alan Holloway

I’ve had a rather patchy history with Mr Big over the years, but have always admired the talent within the band, in particular the stellar vocals of Eric Martin. Oh sure, “To Be With You” was a big load of soppy bollocks, but it’s still an awesome song, and “Green Tinted Sixties Mind” (from the same album) was a wonderfully unique track. Let’s just say that when Mr Big find the right groove there’s lots of fun to be had. The Japanese certainly agree, and it’s their fault that over the years the band have released more live albums than they have studio ones. Mr Big have come full circle now, over 20 years after they started, with the supremely talented guitarist Paul Gilbert back in the fold to make everything cosier than a pair of slippers made out of Steve Perry’s vocal chords.

Let me tell you now that “What If…” is a totally excellent album, easily as good as anything the band have done before. See, I have to get that out of the way, if only so you don’t have to skip to the end of the review. The only reason this won’t appear in my top albums for 2010 is because it isn’t officially released until January, but after living with it for a few weeks I’m pretty certain it will feature highly in next years list. What you get here is Mr Big rocking out as only they can, with Billy Sheehan throwing about all sorts of complicated but fun bass stuff, and Paul Gilbert is both restrained and ebullient when the need arises. Eric Martin still has that gloriously throaty but strangely clear voice that reeled me in so long ago when I heard him singing “Lying In A Bed Of Fire” (Youtube it if you haven’t heard it), and as Pat Torpey’s kit keeps it all together you have a feeling that this is as good as it gets.

If you’re looking for another potential weepy hit, then “All the Way Up” is the one - it’s a beautiful song sung with real conviction by Martin. Elsewhere the band just let rip with some really energetic stuff, notably on “Nobody Takes The Blame”, where Sheehan widdles like never before. The album’s full of stuff like this, all frenetic and melodic, bursting with the joys of life, love and rocking like a bastard. “American Beauty” is a full on track with a hook that will stay with you for days, whilst “Around The World” has a similar feel to “Addicted To That Rush”, seemingly in a hurry to get to it’s own end with a touch of Hagar era Van Halen about it.

If you’re wondering why you should give Mr Big another look, stop thinking about it and have a listen to “What If…”. This is exactly the album the band needed to produce, a masterpiece of musical excellence and flamboyance coupled with catchy songs that jump out of the speakers and into your brain. I’d forgotten just how good this band can be, but this album has ensured I won’t forget again.

www.mrbigsite.com

JOHN WAITE: "Rough & Tumble"

Rating: 8/10

Label: Frontiers 2011

Review by Alan Holloway

Some uncharitable chap commented on a recent video from this album that John Waite looks “worn out and sick and tired of everything”, which is a harsh thing to throw at a 58 year old rock star. To be honest, he could look like a Venusian sphincter beast for all I care, as long as he can still sing like John Waite, and boy can he still do that. “Rough & Tumble” is his tenth solo album in 28 years, and it’s nice to have the old boy back.

From the opening title track it’s obvious that John Waite hasn’t lost any of his talent vocally, and it’s a snappy track that falls nicely between the two stools that are his previous solo work and the stellar stuff he did with Bad English. Crunchy and catchy, it tells you that this isn’t going to be a wet blanket of an album, and for that I thank Beelzebub and all his little satanic minions. The style of the album is still firmly lodged in the AOR camp, but when there’s a bit more energy released, such as on the excellent “Sweet Rhode Island Red”, it really jumps. Obviously there’s going to be a few soppy songs, but Waite’s voice was built to make soppy songs bearable, and he breathes life into stuff like “Skyward” and the laid back “Love’s Going Out Of Style”. Overall the album is more low key than rocking with it’s socks off, but the tracks are very well written and The Voice is well catered for.

There’s a couple of bonus tracks on my copy, with the energetic “Mr Wonderful” complimented by the mournful “Hanging Tree”, but I don’t know if they’re Europe exclusive or what. Suffice to say they are the icing on the cake of what was already a very good 10 track album. “Rough & Tumble” isn’t up there with the Bad English debut, mostly because it lacks the raw power of that disc, but it’s still a fine piece of work that should paint happy faces on fans of any era of Waite’s work.

www.johnwaite.com

LIBERTY N' JUSTICE with Vic Rivera: "Chasing A Cure" EP

Label: Liberty N' Justice 2010

Review by Kimmo Toivonen

The Christian band Liberty N' Justice have once again managed to gather an impressive array of well known artists to appear on this EP, with which they are hoping to raise money for epilepsy reseach. As the band state on their website, "The disease hits very close to home for Justin Murr and his family. Justin's oldest daughter, Trinity Paige Murr, was diagnosed with epilepsy at age 7. For the past five years she has battled through daily medication, hospital stays, cluster seizures, induced comas, three weeks in the ICU — and finally brain surgery." You can get the EP only from the band's website by donating $7.50 or more for this good cause.

Apart from being for a good cause, you should really consider donating because you'll get a very good EP for your money too. All five tracks are very enjoyable melodic rock with excellent vocals from some of the greatest vocalists of the genre. The uptempo "Say Uncle" gets the ball rolling with Ron Keel and Paul Shortino showcasing their incredible talents. Just check out Ron's smooth vocals - he's so much more than just a heavy metal shouter. "Throwing Stones" features Donnie Vie of Enuff Z'Nuff, who has a pretty unique voice, and he does this song justice indeed. An excellent melodic track. Philip Bardowell (Magdalen/Unruly Child/Places Of Power) sings the touching "Paige's Song" and it's another classy performance, with JK Northrup adding some tasty guitar touches to it.

AOR heroes Benny Mardones and Jeff Paris appear on the EP as well, along with Tony Ilous (XYZ), so just based on the vocal talent involved, this EP should be a safe buy for anyone into melodic rock. If that's not enough, the guitarists donating their talent to this include Twisted Sister's Eddie Ojeda, Vic Rivera (AdrianGale), Bill Leverty of Firehouse... Highly recommended.

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