URIAH HEEP: "Into The WIld"

Rating: 7/10

Label: Record
Label 2011

Review by Alan Holloway

For over forty years, Uriah Heep have been peddling their quirky brand of high quality melodic pomp rock, veering in and out of the public eye but all the while doing a good job regardless of who thinks they are trendy or not.

The basic quarter of vocalist Bernie Shaw, guitar god Mick Box, keyboard player Phil Lanzon and bassist Trevor Bolder are still here, with long time drummer Lee Kerslake making way for Russell Gilbrook. Uriah Heep are very much still a band in every sense of the word, with everyone’s contribution being shunted right to the forefront, especially Lanzon’s Hammond organ warbling that are always a joy to hear. Bernie Shaw has a good, powerful voice, and Mick Box certainly knows how to write and play some top notch riffs.

For me, Uriah Heep are at their best when they put the pedal to the metal and just go for it, and on “Into The Wild” they do just that several times to great effect. “I Can See You”, “Into the Wild” and “T-Bird Angel” mix power, melody and big ass organ sounds like Deep Purple did at their best, and if you count “Highway Star” as one of your favourite tracks then you should really dig there. Elsewhere, there’s the usual big riff tracks that crunch along nicely, plus plenty of high end guitar playing from Box, who can still pull off a killer solo when he needs to.

Uriah Heep are a band who never fail to deliver plenty of impressive tunes, but there are usually a few that fall a little below par. Opener “Nail On The Head” has a catchy refrain that in the end is hammered home a bit too much, whilst closer “Kiss Of Freedom” is nice enough but doesn’t really go anywhere. Despite a few niggles, however, this is a great album that should not be missed by anyone who has enjoyed Heep live or on record in the past.


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RAMMAS ATAS: "'Til Life Do Us Part"

Rating: 3/10

Label: Bullroser Records 2011

Review by Kimmo Toivonen

"Industrial Techno Metal - Post Apocalyptic Visions" is the headline of the press release. "Oh well, what the heck" I thought and inserted the CD into the player. And despite knowing that this really wasn't my thing, I played the disc from start to finish. Once. And even though I usually play the albums I review more than once, I'm afraid this one I will not play ever again. I'm 100 % certain that it's not a grower, and I feel that I can review it based on the first impression.

Take a bit of Rammstein, a bit of Pain, techno sounds, metal guitars, one cookie monster and a Maggie Reilly-soundalike female vocalist and you'll get Rammas Atas (can I have rice with that?). The music's not too bad actually, maybe a bit monotonous though, and I like the female vocals, "Miss Tery" has a nice voice and she sings well. However, the rotten fruit is called "Peach" and he's the male vocalist of the band. His one-dimensional gargling is what totally puts me off. I've said it before and say it again - the art of cookie monster vocals is something that I'll never understand. I can tolerate it in small doses if the songs are otherwise good, but on this album we're talking about overdosing on growling and frankly, merely "not too bad" songs. Not a winning combination.

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SHADOWMAN: "Watching Over You"

Rating: 8/10

Label: Escape Music 2011

Review by Alan Holloway

With the pedigree of F.M and Heartland behind them, it was always clear that the two Steves, Overland and Morris, would come up trumps with their Shadowman project, and thankfully haven’t dropped the ball with this, their fourth album.

With the reliable paws of Tommy Denander once more at the desk, and aided and abetted by Thunder alumni Chris Childs and Harry James, Shadowman are everything you could really want from a British melodic rock act. The obvious attraction here are the ever incredible vocals of Steve Overland, who croons his way through the pleasantly upbeat album, sounding as good as he did way back in the stone age when F.M were starting out. Whereas Steve Morris is undeniably a talented player, he doesn’t throw too many imposing shapes here, just keeping things going and pulling off solos as required, rather than shoving them down the listeners throat.

Although at times guilty of treading water, when “Watching Over You” hits high gear it delivers some amazing songs that will stay on your personal play list for years to come. My favourite track has to be “Suzanne”, which is a very upbeat, insanely catchy track, and there’s a top class semi ballad in the shape of “Stop Breaking This Heart Of Mine” that really allows Overland to shine. “Are You Ready” and the title track also contain killer hooks, with Overland bringing that extra bit of class to proceedings, turning good tracks into great ones.

Ultimately, this album should be utterly adored by fans of FM, and to a lesser degree Heartland. No barriers are broken, but it’s such a clean, catchy, bouncy piece of work that it’s impossible to dislike it. For me, this is certainly the best Shadowman album so far, and a must have for British AOR fans.

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ENBOUND: "And She Says Gold"

Rating: 9/10

Inner Wound Records/MusicBuyMail 2011

Review by Kimmo Toivonen

Now here's a band that should make a sizeable splash in the Metal genre. Formed by Mike Cameron Force (Zonata, Poem) in 2006, the band's been working on the direction and the sound of the band, and now in 2011 they're "ready to go". The curiously named "And She Says Gold" features 13 very melodic, progressive metal songs and a rather fine cover of Michael Jackson's "Beat It". In a genre that is rather crowded, a band has to have something special, and I think Enbound has just that. It's a combination of fine songs, interesting arrangements, superb musicianship and a great vocalist. The singer in question is Lee Hunter, and this is his first recorded foray to Heavy Metal. His real name is Lars Säfsund, and some of you might know him as the singer of superb AOR band Work Of Art. He's done a lot of other things too, including Swedish TV show "Singing Bee" and musicals. I already liked his voice as the singer of Work Of Art, but on this album he really gets to shine, thanks to the very versatile material.

And the songs... while the songs have the typical tricky tempo changes and complex structures, they're still very accessible even to a non-prog fan like me. There are a lot of gloriously melodic choruses on the album which should please even the most hardcore AOR fans, and guitar-freaks will get a kick out of listening to young virtuoso Marvin Flowberg's excellent playing. I might point out that none of the songs overstay their welcome, as there are no standard 7 minute prog epics with endless solos.

My favourite tracks of the album include "Under A Spell", "Love Has Come", "Combined The Souls", "I Am Lost To You" and "Descending", but there are really no weak tracks on the album. "Shifting Gears" is probably the one song I like the least, it's the album's most aggressive track with a bit of a modern metal vibe, but even that one has some very melodic parts.

"And She Says Gold" is highly recommended for fans of vintage Queensrÿche, Seventh Wonder and Kamelot. I think we might have the Melodic Metal album of 2011 here.

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PAUL YOUNG: "Chronicles"

Rating: 7/10

Label: Escape 2011

Review by: Urban "Wally" Wallstrom

Attention! Not to be confused with the Paul Young of the eighties pop charts. Then again, why not? since it's poppy rock on display and we're talking about the late and great Paul (R.I.P.) of Mike and The Mechanics, Sad Cafe and Gyro. It's however not the same bloke which gave us hits such as "Wherever I Lay My Hat (That's My Home)" and many other softies (well, it's actually a Marvin Gaye tune, but nevermind). This particular Paul become a full time member of Mike and The Mechanics in 1985 and was to remain with the band with many hits under his built and tour the world until his sudden heart failure and death in the year 2000.

"Chronicles" is a retrospective look at some of the lost goodies. A few year after Paul passed away, unfinished material he had been working on was recovered from his home studio, some of which have been recorded and completed by musician friends and collaborators. There's a fine duet with Paul Carrack of Mike and The Mechanics (the song: Grace Of God) and other musicians that lends a hand are among others: Mike Rutherford (of course), Graham Gouldman and Eric Stewart (10 CC), Ian Wilson and Victor Emerson (Sad Cafe), etc.

It's a very slick and professional music affair with the rather typical signature of Mr. Young. Granted not the most original sounding CD out there, and yes, there's a clear reference to the Sad Cafe and Mechanics. But so what? the result is still quite pleasing and you won't end up too disappointed by the ultra soft melodies. Tracks such as "House Of Many Nations", "You Shoes", Two Wrongs", "Everything", etc. are all winners in the laidback category of things. Nicely done.

OVERDRIVE: "Angelmaker"

Rating: 6/10

Label: LionMusic 2011

Review by: Urban "Wally" Wallstrom

Blimey, it's... 1981!!!??? One word: ancient. Two words: old skool. Three words: heavy metal dinosaur. I honestly thought the previous record (Let The Metal Do The Talking) showcased a more direct and interesting Overdrive than ever before and thus why I expect a similar approach this time around. Sure enough, lyrically, "Angelmaker" deals with various strange topics such as catholic priests (right you are there, Father Ted), vampires, indians (I believe it's native Americans?), psychopaths and the lovely group of the Swedish Angelmakers. The latter being extra extra morbid since they were a group of women who took care of illegitimate children through drowning, suffocation or starvation, being paid for their services. The last (?) angelmaker was convicted in the 1920's in Sweden.

Admittedly, "Angelmaker" demonstartes exactly how old skool and retro Overdrive are/is and there's some very metal (as Vivian would say) stuff on here, the problem is though, it's a minor step back from previous attempt and they even seem to have run out of ideas at times. "In Gut We Trust" is the real deal though with a stomping beat and guitar riff that will surely appeal to most metal fans and old farts alike. The Frida (ABBA) cover "I Know There's Something Going On" is sadly a disappointment really. The Overdrive version lack all the needed ingredients which made the original a rather fun and catchy tune. File this under so so.

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LICK AND A PROMISE: "Come Together In The Morning"

Rating: 6/10

Label: TSM/SLW Promotions 2011

Review by: Urban "Wally" Wallstrom

Lick And A Promise? Hey, whatever floats your boat. This particular back-to-basics rock band from Germany began their struggle in the summer of 2005 in the vicinity of Frankfurt. "Come Together In The Morning" is their sophomore release and it simply oozes of laidback seventies rock. I spoke earlier with their vocalist Jochen W Thoma and he told me the following and I quote: "We wanted to sound like a classic 70's rock record. Like the Stones' "Exile" e.g. nothing fancy, just an authentic timeless record without any gimmicks or shitty effects on it. Like the real deal, you know", end quote. Yep, we do know and it's a quite nice little album with plenty of nods and winky-winks to the Rolling Stones, Led Zeppelin as well as newer bands such as Black Crowes or the Derek Trucks Band.

They've already been on their first US Of A tour (West Coast), taking them to legendary venues such as the 'House Of Blues' and 'The Viper Room' on the world-famous Sunset Strip in Hollywood, Los Angeles, California. Sadly you won't find any real uptempo track here, the melodies has been stripped down to the bone and thus why it's a 'basic' and laidback platter 'ala the late sixties/early seventies. "The Highway" sound a lot like if Black Crowes and Led Zeppelin decided to have a German love child. It's bits and pieces of this and that, and there's even a horn section in the background. The rest of the tracks are more or less Stones-ish and the band conjure up images of warm sunny afternoons and long gone days/daze. Nice arrangements, good, strong vocals, but it's just too samey and laidback in the long run. Nice but no cigar.

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INFINITY OVERTURE: "The Infinity Overture Part 1"

Rating: 4/10

Label: LionMusic 2011

Review by: Urban "Wally" Wallstrom

Bloody'ell... we're off to a dodgy start... it's like a nightmare come true really. The opening track "The Hunger" kicks off with female vocals of the annoying sort and kind, and on top of everything... Fabio Lione of Rhapsody Of Fire. Argghhh!!! It's like a match making duo from hell and just enough to have any reviewer in tears of agony. But okay, let's try and see things from the positive side, shall we? Infinity Overture and their massive ehem, overture? follow the same routine like all the female goth acts and their alikes in the early 00's. Ghostly voices, pompous arrangements, the symphonic metal slant enchanted with progressive elements and blended with gothic textures. Yes, we've heard it all before and it's perhaps not the most original sound of lately. In fact, it's so utterly bland and '2001' that we are sure it's a flashback attack. Ten years after and too late? well, even though the new album is being more guitar driven due to some reduction of symphonic elements, I just can't stop thinking about the first Spiderman movie. Hey, this could have been something for the soundtrack, you know. Now it's just... meh.

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MEANSTREAK: "Declaration Of War"

Rating: 3/10

Label: Black Lodge 2011

Review by: Urban "Wally" Wallstrom

Meanstreak are desperately trying to paste and copy the best of eighties metal. It's a "Declaration Of War" and there must be something in the Swedish water at the moment, as we appear to be releasing a bunch of average 'heavy metal' albums as of lately. I blame the likes of Hammerfall as they seem to be setting the standard for "great" metal in this country. Man, are we disillusional or what??? (then again, the Finns are exactly the same with their Brother Firetribe). Unfortunately though, most of this kind of thing was done to death back in the eighties and much better performed and executed I may add. The song titles give it away really. What else to expect from song and dance numbers such as "In For the Kill", "Crimson Sky", "As You Sow You Shall Reap", "No Mans Land", "Brothers Til The End", "Sons of Metal", than the old sword/shield, let's go to the battlefield and then sod off completely? The two guitarists Patrik Gardberg (Divinefire) and David Andersson (Soilwork) are more than capable of coming up with some interesting twin-guitar work, it's merely a shame the material won't stand the test.

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WHITESNAKE: "Forevermore"

Rating: 8/10

Label: Frontiers 2011

Review by: Urban "Wally" Wallstrom

Ere's a new album for ya!!! Well, 'new' would clearly stretch things a bit. I believe it's the old saying: "damned if you do, damned if ya don't" or if you'd rather prefer: "same, same, but different". Should I complain about obvious similarities to previous albums and songs or simply embrace the fact that it's nice to have the old 'Snakes back??? I honestly can't tell since it's on the one hand a classy display of bluesy hard rock and on the other not completely fulfilling their promises of world domination in 2011. I don't know, perhaps I just desperately need to point out a few things and cast the shadow of doubt?

I've been sick as a dog for weeks and I've certainly had the time to listen to "Forevermore" over and over and over again. Yes, it's true, the voice of Coverdale have lost a lot of "soul" and replaced it all with grit and husk. Nontheless, "Forevermore" is a very solid album by a very solid band. Very bluesy (ala' Lovehunter) at times and it's not really a question of returning to the U.S. sound of "1987" or even "Slide It In" (my favourite snakes albums). Well, a couple of the typical radio friendly schlock and ballads such as "Easier Said Than Done". Easily their best slow dance since the heydays actually. There's an essential difference between keeping it samey and pure plagiarism and I should point out that AC/DC been recording the same album over and over again for the past 30 years (and most people won't mind?). If anything, "Forevermore" makes me want to play the old albums and that should count for something, yeah?

Final verdict: Like the Four Tops? and Rod Stewart of lately sang, "It's the same old song but with a different meaning since you've been gone". By the way, Coverdale already did his Four Tops version back in 1989, I believe it's called "Now You're Gone", yeah? Oh, it's good to be bad...

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R.O.C.K.: "Mirror Ball & Red Lights"

Rating: 6/10

Astia-Studio 2011

Review by Kimmo Toivonen

R.O.C.K. is a kind of a "supergroup" featuring wellknown names from the Finnish metal scene. Famed metal producer Anssi "Anchi" Kippo is the bassist of the band, while on vocals there's Heikki Pöyhiä from Twilightning, and the guitar duties are handled by Lullacry's Sami Leppäkangas. As the name might suggest, they are not a metal band though, they are indeed a rock band. "It's a mix of music played by the evil big brothers of The Rasmus or when Mötley Crue plays Backstreet Boys" is how they describe their sound, and that was what made me curious.

The first time I listened to this album, I wasn't won over by it. The techno-sounding keyboards and some of the other musical ideas sounded a bit pretentious, as if they were added to the songs just to provoke. Having lived with the album a while, I've grown to like it more, although there are a few songs that still sound contrived or simply just not very good. When R.O.C.K. are at their best, they are indeed close to creating the perfect mix of big pop hooks and arrogant hard rock swagger.

My picks from the album would be "Here Comes The Music" (despite the techno keys) and the highly infectious "Venomous". On the other hand, there are a couple of tracks that just don't work at all for me, like the Rasmus-like yet repetitive and dull "No Try Only Do" and the frantic but tiresome "Maximum Emotion". The other songs fall between these "extremes".

Since this is the first effort from the band, they've got plenty of time to perfect their delivery. Maybe the second or third album will take 'em to the charts, if this one doesn't. I like the concept, with a little finetuning they'll make it something extraordinary.

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GHOST MACHINERY: "Out For Blood"

Rating: 8/10

Limb Music 2010

Review by Kimmo Toivonen

Ghost Machinery is a band formed by Pete Ahonen, also known as the guitarist/vocalist of Burning Point and the guitarist of Stargazery. This is their second album, and the first to feature the vocals of Taage Laiho. Taage's one of the Finland's premier metal vocalists, best known as the singer of Kilpi and for his stint in Altaria.

I guess it's not surprising that Ghost Machinery is a band that plays rather traditional melodic metal, with traces of Malmsteen, Dio, Iron Maiden... and Bon Jovi?! Yep, the band has definite melodic sensibilities, so fans of harder-edged AOR could pay attention too.

The album gets a hard-hitting start with two metallic, uptempo tracks with good hooks, namely "Face Of Evil" and "Out For Blood". The heavier "Guilty" has some cool fanfare-like guitar/keyboard interplay, but I'm not so sure about the chorus. The chorus of "Blood From Stone" I am definitely sure about, it's damn fantastic, as is the keyboard-intro and the whole song really. Imagine Yngwie Malmsteen covering Bon Jovi and you're pretty close to the truth.

The sheer brilliance of "Blood From Stone" has admittedly overshadowed the other tracks for me, but now that I've had a closer look at each one of them, I gotta say that there really isn't a bad song to be found. The band's Blackfoot cover "Send Me An Angel" is very good, and the hooks of "Sentenced To Life (In Paradise)" and "Mask Of Madness" are hard to resist. The "obligatory" ballad "Lost In Time" is a quality track too, and Helloween fans will get a kick out of "Eternal Damnation". So... highly recommended for those of you into traditional melodic metal.

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REINXEED: "Majestic"

Rating: 8/10

Liljegren Records 2010

Review by Kimmo Toivonen

In his review of the band's previous album "The Light" Urban W. said that it was "not bad, not bad at all, if you fancy a 50/50 mix of Robbie Valentine and Dragonforce." I haven't heard that album (as I recall), but on the new one the comparison still holds true. At their fastest, Reinxeed offer you the kind of tempos Dragonforce are known for, but on the other hand, they also showcase Valentine-like orchestrated, pompous elements and some catchy melodies.

To be honest, the ultra-fast speed metal tracks of the album might appeal to some, but for me they are the least interesting ones. The band's much better when they slow down a little, take the magnificent "Never Lie", the Freedom Call-like "Happy Metal" anthem "Melody Of Life" or the anthemic "Majestic" for instance. The latter is a fine combination of various influences, a bit of Edguy/Avantasia mixed with the pomp and grandeur of Queen and Robbie Valentine.

The band's main man, vocalist Tommy Johansson reaches some very high notes on the album. I must say that I'm not 100% convinced of his vocals, they sound a little thin at times, but then again, I've never been a huge fan of really high-pitched singers. As for the other performances, you'll find some extremely fast drumming, moody keyboards and skillful guitar work - essential elements in power metal all in place.

"Majestic" is an interesting melodic metal album, thanks to some fine melodies and unorthodox pomp and even pop elements. Had there been more of that "double bass drum delirium" I would have lost interest quite soon. Now the steps off the beaten path kept me listening to the album again and again...

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LEGION: "Code Of Honour"

Rating: 7/10

Label: Z Records 2011

Review by Alan Holloway

Barely five months after the well received debut, Legion have returned with a follow up that, incredibly, does not seem to have suffered at all from the relatively short gestation period. The pairing of Phil Vincent and Vince O’Regan is certainly coming up trumps, with the band set to try and recreate their studio success at Z Rock in May.

It would be entirely fair to say that if you enjoyed Legion’s self titled debut then you will enjoy “Code Of Honour” just as much, as it’s pretty much part 2. This isn’t to say it lacks any spark or creativity, because once again it appears that Phil Vincent is a natural fit for O’Regan, who managed to work wonders with Bob Catley, yet floundered about aimlessly with Eden. I guess you just have to find the right person, and although Vicnet is no Bob Catley, he’s an accomplished vocalist in the tradition of 80’s and 90’s melodic hard rock, suiting O’Regan’s writing style nicely.

There’s no duffers within the eleven tracks on the album, with some nice, upbeat melodic rock songs that will leave a lasting impression on the listener. Sometimes it moves into “Been there, heard that” territory, but there’s usually enough of a spark to keep things moving along nicely, including some very nice guitar from O’Regan. Legion are unlikely to set the world alight with what some may see as yet another above average but below awesome album, but in the end they have delivered something they can be justly proud of. As with the debut, there’s really nothing here that’s not likeable, and that makes a nice change.

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SANDI THOM: "Merchants & Thieves"

Rating: 7/10

Label: Guardian Angel Records 2011

Review by Alan Holloway

If I’m honest, this isn’t exactly a new album, but it is a re-release ‘Special Edition’ job that we never actually reviewed when it came out last year, so this is as good a time as any to investigate the up and down career of Sandi Thom.

Casual music listeners will know Sandi Thom for her brilliantly catchy pop anthem “I Wish I Was A Punk Rocker”, a big hit and a great song, if truth be told. The album wasn’t bad, either, but the disappointing follow up saw her leave Sony, a label who wanted a pop star but didn’t quite get one. With this, her third album, she has set up her own label, Guardian Angel Records, and there’s a feeling that what we have here might finally be the ‘real’ Sandi Thom - a soulful blues singer no less.

The fact that Joe Bonamassa guests on a few tracks should point potential listeners in the right direction, as this is a thoroughly bluesy album, although it’s mostly slower tracks rather than all out blues rock. Single “This Ol World” is very like the sort of thing Jeff Healy used to do, with Bonamassa laying down some cool blues guitar all over the place, as well as some vocals. This is about as lively as it gets, but that’s not necessarily a bad thing, as when she sings the slower tracks you really get to hear what Sandi Thom can do. For example, this edition contains a version of “House Of The Rising Sun”, which is the best I have ever heard, and twisting the lyrics to fit a female perspective changes the whole song round as well. There’s also a cover of Kenny Neal’s swamp blues classic “If Heartaches Were Nickels” (which Bonamassa has also covered), and again she manages to put so much into the vocals you can almost feel the pain.

Undoubtedly, this is Thom’s finest effort to date, with plenty of fire and passion almost overflowing at times. For a wee Scottish girl she sounds like she came straight from the deep South, stopping on the way to pick up a rucksack full of troubles and several shit boyfriends. When she treads water she’s still very listenable, and when she turns it on she’s dynamite. A very nice surprise this one, well worth checking out, especially if you like Joe Bonamassa.

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TOM MANSI & The ICEBREAKERS: "Perils A Plenty"

Rating: 8/10

Label: MetricaCorn 2011

Review by: Urban "Wally" Wallstrom

"Perils A Plenty" literally reeks of Rock Pop and Punk of the eighties. Dude, it's the attitude of U.K. working class heroes such as Elvis Costello, The Clash, The Madness, vs. the more sophisticated Tom Waits and Steve Miller Band. Indeed, Tom Mansi & The Icebreakers are on the very brink of success with their new monster of an album recorded in their own studio with the help of legendary producer and mix engineer Tony Platt (AC/DC, Iron Maiden, Bob Marley, etc, etc). The UK band deserve the praise as this could just as easily have been a multi-million selling record under the correct circumstances and era?

The band are Tom Mansi (vocals/bass), Paul White (guitar), Alain Man (keyboards), James Johnston (drums) and they all have extensive background working as session musicians in the UK. Mansi's done studio sessions for artists so diverse as Sugababes and Goldcut and joined Scottish folk legend Donavan and surreal filmmaker David Lynch on a US tour which combined music with lectures on meditation and world peace? Ehem, very hippie.

From the opening stomping rock of "What Life Brings" to the closing "Gino", you're in for a rollercoaster ride. The styles and genres are plenty and diverse and you can't help to wonder if it's too vivid at times? Don't get me wrong, I like this a lot, it's just that one minute you have low key music (inspired by Tom Waits no doubt) and the other it's fun, uptempo rockers with plenty a twang. "You Got Yourself" is the very definition of a classy (plain) rock tune and "Man Made Man" is just so unbelievable catchy and fun. Others such as the title track bare resemblance to goofy ska typed rock 'ala Talking Head and The Madness. In fact, this CD is like a kick up the arse of the Iron Lady and the whole U.K. era of early/mid eighties. Highly Recommended.

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