Monday, October 31, 2011

STEEL PANTHER: "Balls Out"




Rating: 7/10

Label: Universal Republic 2011

Review by Alan Holloway

Okay, it’s time to put on your ironic spandex pants and leopard skin headband, as Steel Panther have decided to do a second album - not much of a surprise after the success of the first. As before, the Steel Panther is a confusing beast, peddling mostly childish comedy songs with a style and flair that would have delighted sleaze rock fans of the mid eighties. So are we being homaged or is the piss being royally taken? I’m still not sure…

Perhaps the best fact about Steel Panther is the fact that vocalist Ralph Saenz used to front a Van Halen tribute band and was called Dave Lee Ralph. Now that’s funny. This also means the guy can sing, and as with everyone in Steel Panther there’s certainly no shortage of musical talent. Saenz (who uses the name Michael Starr in the band) can belt out “Supersonic Sex Machine” (a track that Reckless Love would kill for) like a pro, and when you have a lead guitarist with the talents of Russ Parish (“Satchel”) it’s good to see they are being utilized to the full, as “Balls Out” contains some monster riffs and searing solos.

As ever, though, the real debating point of Steel Panther is their longevity. It’s like watching a live comedy DVD - you love it the first time but the jokes don’t get better when you hear them again and again. Steel Panther have an advantage in that the songs are very well written, but in the end they are pretty standard glam metal distinguished by the fact that no one else writes lyrics quite like this. The lyrics are, well, filthy. They are at their best when there’s a bit of cleverness involved, such as single “If You Really Really Love Me” and “Just Like Tiger Woods”. Unfortunately, most of them are incredibly low IQ stuff, like “17 Girls In A Row” or the rather self explanatory “It Won’t Suck Itself”, a track that sounds a lot like Motley Crue at their peak.

So once again I am torn by a Steel Panther album. On one hand, the music really is pretty good, pure 80s Hollywood Strip metal, all hairspray, bandannas and venereal diseases. The other hand has the fact that the lyrics are often embarrassing to listen to, and it really can feel like they’re just making fun of music I love. If that’s true, anyone who buys it is being taken for a fool. Suffice to say, if you loved the debut, this will certainly float your boat, but those who think it’s all a bit silly should go and get the new Vain album for their sleaze needs.

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Monday, October 24, 2011

FASTWAY: "Eat Dog Eat"




Rating: 8/10

Label: SPV/Steamhammer 2011

Review by Alan Holloway

When you see that Fastway are releasing their first album for 20 years or so, you have to wonder if anyone is really going to care that much. Fastway, although hinged on the presence of Motorhead man Fast Eddie Clarke, were always a bit of a revolving door of a band, and this resulted in albums of varying quality, my favourite being the “Trick Or Treat” soundtrack from 1996. Unsurprisingly, the band has gone through more line up changes since they played at Hard Rock Hell a few years ago, and now consists of Clarke, Toby Jepson (vocals/bass) and Matt Eldrige (drums).

Although Jepson has his own habit of bouncing around different projects, he’s a safe bet for a decent vocal any day of the week, and as a result “Eat Dog Eat” sounds great, with Clarke laying down some melodic, bluesy riffs and throwing in plenty of nifty solos along the way. Musically, the sound is nicely between UFO and Little Angels, taking some of the better bits from both, with the result a surprisingly decent album. “Deliver Me”, “Fade Out”, “Leave The Light” on and “Sick As A Dog” all fly by early on with the album broken up by a cracking ballad (well, half a ballad with a rocky finish) in the shape of “Dead & Gone”, with Jepson relishing the chance to utilize his brilliant vocal range and grab bag full of emotion.

Refreshing, solid and crunchy, “Eat Dog Eat” is a welcome return for both Clarke and Jepson, playing off the talents of both in just the right way. Here’s hoping they manage to stick together to do some more.



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Sunday, October 23, 2011

SOUL SELLER: "Back To Life"


Rating: 7/10

Label: Avenue Of Allies 2011

Review by Kimmo Toivonen

This Italian hard rock band has been around since 1999, and they've even called it quits once, but the passion of the founding members Dave and Mike Zublena didn't go away. So, a couple of years ago they decided to give it another shot, and the result is here for all the world to hear - the album "Back To Life".

With new guys in the band and the services of producer Alessandro Del Vechhio enlisted, the band has come up with a decent melodic rock album. Musically they're standing somewhere between Journey, late eighties' Whitesnake and Bon Jovi of the same era. Especially vocalist Michael Carreta's voice reminds me of young Jon Bon Jovi.

The album starts strongly with the catchy "Wings Of Freedom", followed by the summertime AOR of "Change Your Heart Tonight" and the melancholic "All I Can Promise". The latter has a truly fine chorus.

Despite the guest vocals from Oliver Hartmann, "Keep On Moving" isn't one of my favourites, but it does show a harder side of the band. Hell, is that an Accept riff I hear?!

"Old Hero's Prayer" and the fine ballad "Hell Of Tears" are my favourites among the remaining tracks, but while some of the other tracks do have their moments, they're still somewhat forgettable. Hence the rating, although it was a close call... Not bad at all.


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Saturday, October 22, 2011

ISSA: "The Storm"


Rating: 8/10

Label: Frontiers 2011

Review by Kimmo Toivonen

Norwegian AOR queen Issa follows her excellent debut with a rather fine second album. "The Storm" isn't quite as bombastic as the first album, but there's still plenty of big choruses and larger-than-life emotions.

Produced by Daniel Flores, this album is probably the most "experimental" out of the three Frontiers releases of October 2011. AOR purists need not to worry though, no drastic measures have been taken. The overall vibe of the album is just a bit more modern than that of Kimball-Jamison or Fergie Frederiksen.

For me, the album's key songs are the catchy first single "Looking For Love", "Black Clouds" and "What Does It Take". All three are blessed with superb choruses, colourful arrangements and excellent vocals. Other noteworthy songs include "Take A Stand", not a particulary strong song but its' goth leanings add a darker shade to the album. The two ballads have plenty of hit potential, especially "Invincible".

Thanks to a few songs which are merely "nice" in a slightly bland way I'll refrain from rating this any higher than I have done. Good album nevertheless.


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Monday, October 17, 2011

RECKLESS LOVE: "Animal Attraction"


Rating: 8/10

Label: Universal 2011

Review by Kimmo Toivonen

So, the colourful glamsters are back with a new album. It's the "difficult second album", and the stakes are high. The record company is obviously expecting big things after the rather successful debut and the headway the band made during the last 18 months. The band certainly got themselves a high profile in the Finnish media thanks to numerous TV appearances, but there's a downside to this - the critics and enemies are now waiting with their knives sharpened... that's the way it goes here.

I liked the first album a lot, and I like this effort too. The band hasn't lost their knack of writing big hooks, and the production by Ilkka Wirtanen is glossy and polished. Maybe there aren't quite as many standout tracks as on the first album, but this is by no means a disappointment.

The Crüe-meets-Leppard vibe of the title track is the grand opener, and it's a big, BIG anthem. "Speedin'" is a bit of a throwaway and it could've been buried further down the tracklisting, as "Born To Break Your Heart" would've been a better second track. This is a cool, breezy track with a nice twist in the lyrics. The first single "Hot" I've grown to like a bit more over the last few months, but it's not one of my favourites. And that guitar solo... what the hell?

"Fantasy" is the album's big ballad, and if the band intend to do it like it was done in the eighties, it's the single number three. Very Def Lep again, maybe a bit sugary for some but I like it. "Dirty Dreams" could be a single candidate too, thanks to one of the best choruses of the album.

"Dance" is a bit of a departure for the band, even more than the controversial "Hot"... this dance-rock hybrid reminds me of The Rasmus actually. I don't know, it's okay but I'm not overtly into it. After the trickery beats, something more rockin' is needed and "Fight" is just that, a high-energy rocker with Olli Herman snarling the lyrics like he means it. "Switchblade Babe" is another rocker driven by Pepe's riffs, followed by my favourite track of the album, "On The Radio". With a Bon Jovi-vibe and a massive chorus, this song has brought some much needed sunshine to these dark autumn days.

I really don't know what to make of "Coconuts", a silly rocker in the vein of David Lee Roth's solo stuff, with Olli doing his best DLR impressions. It's not really much of a song but it's kinda funny... actually it reminds me slightly of another song with "Coconuts" in the title, Fate's "Beneath Da' Coconuts". I compared Reckless Love to those Danish rockers in my review of the first album, and now they sing about coconuts too. Strange.


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Bobby KIMBALL & Jimi JAMISON: "Kimball Jamison"


Rating: 8/10

Label: Frontiers 2011

Review by Kimmo Toivonen

A few eyebrows when it was announced that Mat Sinner would produce an album by two AOR vocalist legends, former Toto singer Bobby Kimball and ex-Survivor Jimi Jamison. Yes, it's Mat Sinner of Sinner and Primal Fear fame, but Teutonic Metal sound isn't what he has created for the AOR veterans, this is album never strays away from what is the essence of the genre. We're talking about finely produced melodic rock, powerful when needed and subtle and soft when the song requires that. Besides, Mat Sinner hasn't always played metal or raunchy hard rock, his band Sinner did flirt with keyboard-driven AOR sounds on their late eighties' albums...

Provided by songwriters like Jim Peterik, Erik Martensson, Robert Sall, Richard Page and Randy Goodrum, the majority of the album is solid AOR material. Two tracks stand out for me, the superb "Can't Wait For Love" and the hard-hitting "Kicking And Screaming", both really magical tunes with big hooks and fine performances from both of the vocalists, not to mention the backing musicians. Then again, there are two songs that somehow make me cringe: "Get Back In The Game" is a bit of a throwaway uptempo romp, with the two gentlemen trying a bit too hard to prove that "the geezers can still rock", while "Your Photograph" has a cabaret/musical feel which doesn't appeal to me.

If you're a fan of either of the vocalists or both, this is a pretty safe purchase. Both guys still have their voices, and I especially liked Jamison's raspy delivery here. Musically "Kimball Jamison" is closer to Survivor than Toto, so don't expect to hear anything like "Rosanna" or "Africa". This is a pretty hard rockin' effort.


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Sunday, October 16, 2011

Fergie FREDERIKSEN: "Happiness Is The Road"


Rating: 9/10

Label: Frontiers 2011

Review by Kimmo Toivonen

Dennis Ward as the producer, songs from the top writers of the genre and a well-known vocalist... yes, sounds like another Frontiers "project" and October seems to be the month of projects, as the other two October releases, Kimball-Jamison and Issa, are somewhat similar albums.

The well-known vocalist here is Fergie Frederiksen, a familiar name to most AOR fans, thanks to his work on Toto's "Isolation" album and a few other bands/projects such as Le Roux and Frederiksen-Phillips. Fergie's recent history hasn't been the happiest one, as he has suffered of Hepatitis C and a liver cancer, both of which have been beaten. Now the future looks brighter, and I guess "Happiness Is The Road" for him. Nice!

One thing that Fergie can surely be happy about is this album, which is the strongest one out of the three "project" albums released by Frontiers this month. Superb production & musicianship, good songs and fine vocals are the reasons for this.

Frederiksen's history with Toto isn't forgotten on the album, but there are only some light touches of "Totoism" here. Mostly this is a much harder-edged AOR album which suits me just fine. The album gets a flying start with a couple of uptempo AOR gems ("Angel" & "Elaine"), followed by a fine version of "First To Cry", a track written by Mark Baker. Strangely enough, House Of Lords covered it on their latest album too, released a month or so ago, on the same label! I actually prefer Fergie's version, it's somehow fuller and rolls along more effortlessly.

The grandiose, dramatic ballad "Follow Your Heart" is very good, but the title track leaves me a bit cold. Sure, it has Jim Peterik's trademarks all over it, but it's just nice, likeable enough but that's about it. "I Still Believe In Love" sounded familiar, and indeed it's the David Roberts song from his album "The Missing Years", reviewed by me in May. I said it was a fine AOR song then and it still is, one that should appeal to the fans of Fergie's Toto years.

The next two tracks could've been just as well saved as the bonus tracks for the Japanese version or something, because they are the weakest two of the bunch. "Lyin' Eyes" isn't too bad but forgettable all the same, and the soft rocking of "Love Waits For No One" doesn't work for me at all.

The uptempo and intense "Writing On The Wall" is more like it, while "The Future Ain't What It Used To Be" IS my kind of soft rocking, melodic to the core and anthemic at the same time. Two additional AOR jewels have been saved to the end, the majestic "The One" and the almost progressive "The Savior". Both of these tracks feature keyboard player Eric Ragno in the leading role, and he really enhances them with his fantastic playing.

To be honest, I wasn't really expecting this album to be this good. I thought that Fergie would have been pushed to the Toto mould, but thankfully this is more rocking, more uptempo than I expected. Excellent!

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Saturday, October 15, 2011

GREG X: "Dream"




Rating: 7/10

Label: Greg X Music 2011

Review by Alan Holloway

Greg X (not to be confused with vocalist Greg X Volz) is a London based guitarist (and teacher) who you probably haven’t heard of. This isn’t a problem, because if he has his way his name will be shouted from rooftops, or wherever two of three long haired lads are gathered to make devil horns and play air guitar. It was nice to get a fully packaged CD with a proper inlay with words and everything on it! Add to that a personally hand written note and Greg X already has me more interested than many more well known artists.

Mind you, I certainly sat up and decided to take notice when I realized that his vocalist was none other than Ken Tamplin, best known for his work with god botherers Shout (although this isn't a Christian album). Add to this a producer by the name of John Payne (Asia) and I get the feeling that Greg must be quite well respected in the music world. It’s all been cobbled together under his own banner and label, and I would urge people not to be put off by the rather yawnsome cover, as Greg X is worth taking notice of.

Unusually for an album made by a guitarist with that guitarist’s name on the cover, “Dream” certainly isn’t a guitar album. There’s a solitary instrumental track, “Victory”, to close the album, and it’s quite the little beauty, with the guitar histrionics reigned in to allow the melody to shine through, resulting in a marvellously uplifting piece of music. Otherwise it’s all standard melodic rock, often very good and occasionally not so good. The stand out track for me is “Dream The Dream”, which is one of the better AOR tracks of 2011 and shows that Greg knows how to put a good tune together. “As The World Spins Round” opens the album well, whilst “Love & Hate” has a great beat and some sterling work from both Greg X and Tamplin.

Obviously a labour of love, “Dream” is a solid melodic rock album that shows plenty of promise. It’s great to hear Ken Tamplin again, and Greg X himself pulls off some very nice work throughout. Aside from a rather weak drum sound, John Payne produces pretty well, and although there’s only 8 tracks the length feels just about right. I want you to go to Greg X’s website and get your free download of “Dream The Dream”, and if you like it go ahead and buy the album, because you won’t be short changed.

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Thursday, October 13, 2011

GRAND DESIGN: "Idolizer"




Rating: 4/10

Label: RAOR Heaven 2011

Review by Alan Holloway

A couple of years ago, our own Kimmo Toivonen said of Swedden’s Grand Design that “the Def Leppard influence is so overbearing”, and boy, he wasn’t kidding. It seems that they are quite happy to be known as Leppard clones, however, because they’ve not changed a bit in the intervening 2 years, and “Idoliser” (shit, even the album title is like a Def Lep one) is yet another album the Sheffield superstars never got round to making.

There’s really two ways to take this sort of thing. You can be angry that Grand Design are basically a bunch of rip off merchants, with many tracks being close to carbon copies of Leps standards, or you can sit back and enjoy what are, after all, good melodic rock songs. Well, I tried the latter, but the former kept bubbling to the top, I’m afraid. I accept that it’s hard to be truly original in the melodic rock genre, but to so blatantly take off another band is pretty shameful.

So if you want a Leppard clone album with such godawful titles as “Let’s Rawk The Nite” or “OughttoGraugh” then this is certainly the album for you. To be totally fair, the music is really very catchy, the harmonies good and the songs harmless melodic fluff with catchy tunes. The low score is because every time you listen to it you will, track by track, be aware of just which Def Leppard song they are plagiarizing, and that sours what would otherwise be a fun listening experience.

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CHICKENFOOT: "III"





Rating: 9/10

Label: Ear Music 2011

Review by Alan Holloway

Supergroups, whether they think they are one or not, seem to be all over the place lately. The title of “Bestest Supergroup Evar”, however, seems to be between Black Country Communion and the Sammy Hagar led Chickenfoot, who have cheekily titled their second album “III”, because “It’s so good… we jumped right past having to make a second record”. Quite a boast, Mr Hagar, but at least it’s not a hollow one.

The band’s first album was pretty much universally applauded, mainly because it was a great, tight album with plenty of good songs on it. Sometimes that’s all you need, people, and Chickenfoot haven’t tried to fix what wasn’t broken. The heaviest influence on “”III” is unsurprisingly Hagar, mainly because he will always stamp his presence on anything he sings on, and this in turn throws in some healthy comparisons with Hagar era Van Halen. My personal favourite track, “Different Devil” is actually one of the more laid back tracks, with a chorus that wouldn’t been out of place on Hagar’s self titled 1987 classic album, or even VH’s “F.U.C.K”. There’s no clue as to who wrote what anywhere, which is pretty annoying. There’s a 3D picture of each band member, but personally I’d rather have had a proper booklet, like what they used to do, ya know?

It’s not surprise that there is absolutely no filler on the album, just like the first, and although the tracks have a similar feel they’re all refreshingly different, if you see what I mean. Despite the inclusion of guitar legend Joe Satriani, the album doesn’t feature a great deal of shredding, with the erstwhile guitar hero content do just do his job as part of the band, although he certainly flies when let off the lead. There’s even a bit of social commentary, with “Three & A Half Letters”, where Hagar reads from letters by pissed off Americans desperate for a job in trying times before letting rip on the chorus. It’s very effective, and shows another side to the band with the silly name.

The 3D packaging is a tired gimmick, the album name is a confusing gimmick, but Chickenfoot are still anything but a gimmick band. As a fan of Sammy Hagar for many years, I can confidently say that “III” stands up well to plenty of his classic releases, and is the perfect follow on from his Van Halen years. Funky, rocky, melodic and angry, this has something for everyone.

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YÖ: "Kiitos Ja Kunnia - 30V. Juhlakokoelma"


Compilation

Label: Poko Records 2011

Review by Kimmo Toivonen

This compilation features the hits of YÖ from the last decade and a few new songs. Yö has been around since the early eighties, they had their first "glory days" on that decade and for a while they were the biggest band in the country. They went through some lean years during the late eighties and the nineties but seriously bounced back in 2001. The newly-found success has lasted to this day, and with this album already going gold after a few days on the market, it seems that there's no stopping them.

I used to like the band as a kid, and just like many others, I've rediscovered them during the last few years. While their eighties' hits are still firmly stuck in my head, I think that they are a far better band these days. This double album is a carefully put together set of their hits and album tracks, and only a few of my favourites from their recent output are missing. Regardless of the language, I think that fans of melancholic, melodic rock could enjoy tracks like "Särkyvää", "Deadline" or "Rakkautta Vain", just to name a few.

The four new tracks on the album are all more or less worthy additions to the album, although not quite up there with the best of the tracks. The first single "Onnen Hohteessa" is my favourite of them. "Kun Nuoruus Katoaa", written and sung by the band's original songwriter Jussi Hakulinen, is a theatrical 8-minute epic and somewhat out of place here, but I've got to hand it out to Hakulinen - he has written some very challenging vocal melodies for himself.


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Tuesday, October 4, 2011

CORNERSTONE: "Somewhere In America"


Rating: 5/10

Label: Atom Records 2011

Review by: Urban "Wally" Wallstrom

Cornerstone - their previous attempt at world domination ended up in the bin. Indeed, their first CD, 'Head Over Heels' - as much fun as watching a Rob Schneider comedy. By the way, could someone please stop him from filming ever again. I don't get it though? Why do Cornerstone share stages with eighties hard rock acts such as John Waite, Ted Poley, Iron Maiden's Dennis Stratton, as well as their performance at Z Rock Festival in the U.K.

Are they really so desperately clueless to where and when to promote their music and sound? Why do they promote themselves in magazine's such as Powerplay and Fireworks??? I hate to bring the news for Cornerstone - but you guys are NOT, I repeat, NOT even close to being in the same category and style as any of the above mentioned acts and mags. Sure, bits and pieces of melodic hardrock every now and then, but... you could say the exact same thing about Bruce Springsteen.

They certainly have just as much in common with 80s indie pop, Bangles-rock, Berlin (the band, not the city), Linda Rondstadt, and various radio friendly female fronted power-pop with merely a hint of modern country. I can't believe the s**t I'm reading regarding other reviews and what the reviewers are saying. I quote, "a mixture out of AOR like Journey, Asia and Toto with a female voice", end quote. Ehem, sure, if you've been smoking a lot of s**t for the last twenty years. Any good? Well, if the previous one were/was Rob Schneider - this one will surely entertain you just as much as any Adam Sandler movie. Neat, nice vocal harmonies, a couple of really strong melodies, but hardly up there among the real stars.

www.cornerstone.co.at/

SINNER: "One Bullet Left"


Rating: 5/10

Label: AFM Records 2011

Review by: Urban "Wally" Wallstrom

Mat's certainly been quite a busy Sinner over the past years working on projects such as Godless Shiva, Jamison/Kimball, Kiske/Somerville, Scheepers, Voodoo Circle and of course Primal Fear. Sinner is however his first love with a nice background history that dates all the way back to the very early eighties. They were sort of the first wave of teutonic heavy metal which became later everyman's Running Wild, Blind Guardian, Helloween, Rage, etc, etc. I can't recall any Thin Lizzy influences whatsoever on their early records though?

Weird? But, much like previous attempt (Mask Of Sanity), "One Bullet Left" is basically two completely different sides/dogs of hard rock fighting over one album. Teutonic Lizzy? Well, it's still better than those blokes touring as Thin Lizzy nowadays. But to be completely frank, it's just not working out in the long run. The T-Lizzy sounding tracks are basically rip offs and the teutonic metal ones are few and barely enough to please this particular reviewer. Sinner is obviously obsessed by the thought of channeling the sound of Phil Lynnot, but it's hardly the most original idea in the history of hard rock. Final verdict: Too schizo and hardly above average.

www.sinner.de/

Monday, October 3, 2011

NORDIC NOMADIC: "Worldwide Skyline"


Rating: 4/10

Label: TeePee Records 2011

Review by Kimmo Toivonen

The third album from TeePee Records in a row, and by far the most bearable. There's actual singing here! Nordic Nomadic is a project of Chad Ross, who sings and plays guitars in Quest For Fire, "Canada's most beloved psych rockers". This isn't really rock at all, more like acoustic guitar music with whisper-like vocals and electric instruments used as effects. The press release compares the album to Neil Young and Earth, I could describe this as "Kansas and Simon & Gartfunkel gone fishing together".

Some of the melodies are actually quite beautiful and I was able to listen to the whole album easily, but I don't think that there's anything too captivating here. Still, I'd rather listen to this again than those previous two TeePee audio assaults.


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THE FUCKING WRATH: "Valley Of The Serpent's Soul"


Rating: 2/10

Label: TeePee Records 2011

Review by Kimmo Toivonen

I have a sneaking suspicion that the A&R people of TeePee Records do not value singing as most people know it too highly. I reviewed The Elks the other day, and now this... The band name alone suggested that this wouldn't be our usual melodic fare, but bravely I volunteered to review this. Actually, no-one else did so I thought I would, just for the "fun" of it.

Compared to the Elks, "Valley Of The Serpent's Soul" is better produced, at least the vocals are more audible. The band jumps from raw, punky rock to Sabbathy doom, sometimes within one song, but just like with their labelmates, a singer would have been a good addition to the band. There's a "vocalist", but he merely shouts, yells and hollers. There were some short moments of what I could call "singing" on one of the songs, but I'm beginning to think they were accidental, since he quickly returned to shouting and yelling.

"We are out to smash your eardrums with an audio assault of blood, riffs and gear", the band proudly says in the PR letter. Well, mission accomplished. Unofortunately I am not a masochist, so I didn't enjoy it at all.

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VAIN: "Enough Rope"




Rating: 8/10

Label: Jackie Rainbow Records 2011

Review by Alan Holloway

Davy Vain scarred me for life back in 1989, strutting across the stage supporting Skid Row, wearing trousers made of, well, cellophane I think. With no underwear. Good as the music was (they were touring the classic “No Respect” album, after all), the man’s swinging wedding tackle was like a hypnotic pendulum. The only upside was that I was sure I was definitely not gay, but the nightmares…. they still haunt me.

So I should bear Vain at least a small grudge, but I don’t, and it’s great to hear them back and on great form with “Enough Rope”. As usual, there’s plenty of publicity blah, and it’s mentioned that this album ‘follows on seamlessly’ from their 1989 debut, and despite the fact that much of what’s said in press releases is hopeful bollocks, that phrase is right on the button. If this album had been released in 1990 to chase up “No Respect” it would have been praised to the skies. Although the 1991 album “All These Strangers” was good (finally released last year), this is much better. Davy Vain sounds exactly the same, all sleaze and swagger, and the songs are pure Vain. No other band can sound like this, like they’ve just woken up in the gutter with a used condom, a guitar and a fat girl’s number tattooed on their ass - this is proper, dirty sleaze music with pure heart and soul running through it. From the filth of “Triple X”, through the haunting ballad “Treasure Girl” right to closing balls out rocker “Worship”, this is exactly what fans have been waiting for.

In 2011, Vain aren’t exactly flavour of the month any more, but it’s heartening to see a band who can still hold a candle to their glory days. Released on their own label, “Enough Rope” should be eagerly snapped up by anyone who ever enjoyed “No Respect”, as it’s twenty years ago and Davy Vain’s testicles are once again dancing in front of my face… and I like it.

GOLDEN RESURRECTION: "Man With A Mission"




Rating: 7/10

Label: : Liljegren Records / Doolittle Group 2011

Review by Alan Holloway

It’s time to praise the Lord with big ass guitars and shitloads of melody, because Golden Resurrection are back with the eagerly awaited follow up to “Glory To My King”, and they’re not afraid to let you know just who is on the Lord’s side. It’s them, by the way, in case you didn’t get the subtle hints.

Headed by guitar maestro Tommy from ReinXeed and vocalist Christian Liljegran (Narnia, Divinefire) the Swedish band specialize in a sort of God bothering version of the type of melodic power metal Dragonforce made so popular Although not quite as fast, there’s certainly a plethora of fast, melodic guitar that will cement Tommy as a favourite in many people’s minds. This is frantic fret fiddling of the highest order, and it helps immensely that Christian has a competent higher register voice that compliments this style of metal so very well. For the non religious out there some of the lyrics may be a bitter biblical pill to swallow, but once you get round that particular obstacle there’s a lot to admire about “Man With A Mission”. If you’re a certified holy warrior then that only makes the album more desirable, but it’s important to state that it should appeal to Heavenly and Heathen alike. Worthy of note are the two bonus digital tracks, superlative covers of Kansas’ “Point Of Know Return” and Gary Moore’s “The End Of The World”, which has some of the best guitarwork on the album(appropriate, really), whilst the former has a great retro feel to it. A shame they can’t be on the physical copy, really.

Straightforward and melodic, Golden Resurrection don’t muck about very much musically. If you have a thing for melodic power metal that’s been with you since you first played air guitar to “Keeper Of The Seven Keys” then this is a worthy purchase, especially if you are also a Christian. As a confirmed Atheist I have enjoyed listening to it, and may Richard Dawkins strike me dead if I’m lying…

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Sunday, October 2, 2011

ELKS: "Destined For The Sun"


Rating: 2/10

Label: TeePee Records 2011

Review by Kimmo Toivonen

ELKS are an "Astral Metal" band from Brooklyn. "Soaring riffs, towering twin leads... perfect sonic experience" says the press bio. An experience this is all right. Truly a "once in a lifetime" experience, as I will not listen to this album ever again.

The guitarists churn out heavy riffs at a steady pace and do play some twin leads. That's just about the only good thing about this CD that I can think of. Otherwise it's quite horrible: messy production, weird drumming and a vocalist who makes Lemmy sound like a truly wonderful singer. The guy is just yelling and hollering thru the songs, like a drunken football hooligan. Almost funny. It's a good thing that the vocals are low in the mix.

The songs itself aren't much better, there are some decent guitar parts here 'n there but as soon as the "vocalist" starts yelling his head off, the songs become a joke. Thank you, next please.

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