HENRY PRIESTMAN: "The Last Mad Surge Of Youth"

Rating: RRRR+
Label: Proper Records 2014
Review by: Urban "Wally" Wallstrom

Henry Priestman, holy crap, hardly your ordinary local vicar even if he's formerly of The Christians (the U.K. band of the 80s). 'The Last Mad Surge Of Youth' may not have all too much in common with The Christians as it's folky, rooty, dusty, singer/songwriter music with a special knack for lyric that goes deeper than your ordinary grave digger and current '15 minute of shame' bopper at the charts. If not at all familiar with The Priestman's sound as of lately, it's basically grumpy old (white) men music in the vein of Tom Waits, Bob Dylan, Lou Reed, and the darn right wicked hint of Johnny Cash and Willie Nelson. And no, I sadly did not listen to his previous solo album.

Bitter rock with a certain 'Yorkshire' sound (the brass, the horns, the warts and all) and a little bit of country - nailed it! It's old school... or possibly more like no friggin' school at all really. I believe there's always been one of these gifted old geezer hanging around at the corner of nowhere America with a piss stained sign that reads 'will play for food'. Priestman is however the fish and chips, Yorkshire pudding, deep-fried mars-bars version of the above geezer and his latest platter reek of gorgeous dishes and well-crafted songs (you all thought I was going to type shite, huh?). Seasoned guest musicians such as Kat Gilmore (Gilmore & Roberts), Graham Gouldman (10 CC), Paul Simpson (The Wild Swans), Probyn Gregory (Brian Wilson Band - Beach Boys) and Lotte Mullan, add a certain posh attitude to the fine melodies.

It's just excellent stuff from the opening words of "At The End of The Day" to the closer of bonus track, "We Used To Be You - Part 2". The witty and dare I say catchy song and dance numbers of "Goodbye Common Sense", "Valentine Song", "Rant N Rave", "Huntin' and Gatherin' (Ain't What It used To be), "Same Circus Different Clowns", etc. are all winners in my book. Lyric-wise, definitely the notch or three above the average pack and does it get any grumpier and tongue-n-cheek then the opening words from the closing original track, "A Pint Of Bitter And Twisted, Please" and I quote, 'I was born with a face that did not fit'.

The laid-back music fit this particular Britt like a glove. You will feel mighty pleased at the end of the disc and not quite as bitter as the oldest artist to ever have been signed by a major label for a debut solo album. I salute you holy man. Highly Recommended.
http://www.henrypriestman.com/
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BAP KENNEDY: "Let's Start Again"

Rating: RRRR
Label: Proper Records 2014
Review by: Urban "Wally" Wallstrom

Northern Ireland and Belfast is home to singer/songwriter Martin Bap Kennedy and his latest offering to the Gods of mellow goes through several different stages of folk-rock. Tiny bits and pieces of everything from Americana and Latino to the old Irish tradition of things and back again to mid-tempo rootsy rock. The darn right lazy and easiest way to describe his 6th solo album, "Let's Start Again", laid-back stuff (there's a clever word, 'stuff') inspired by the ancient likes of Van Morrison, Mark Knopfler and Bob Dylan.

Perhaps not always the absolute correcto mundo statement, but I told you I was being lazy and not going to nitpick. I do believe that most folks would agree on the overall feeling of the album though. There's however a lot more to Bap than first meet the eye or ear. There is always that underlaying sound of old school Country inspired by the ultra ancient legend of Hank Williams. I kid you not. Bap's been into both power-punk and Celtic melancholy in the past, but has clearly moved on to other arrangements and the slightly 'western' structure.

"Song of Her Desire" is just a lovely mish-mash of (very early) Dire Straits and Springsteen (his most rootsy and laid-back material). "Radio Waves", takes you on a journey through country and Van Morrison, while "Heart Trouble" steps back in time and space to Hank and big band's swing. Bap has retained his sense of storytelling, but the ease of which he pays tribute to one genre to the next shows a maturity that few manage to receive in their lifetime. There's a couple of oddities and darn right weird moments on this record and certainly not quite as instant or easy listening as his fellow label mate Henry Priestman. You simply need to spin this several times and then let the low-key mood melodies slowly sink in. Recommended. Release date: 3rd February.
http://www.bapkennedy.com/
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BLACKWOLF – “The Hunt”

LABEL: Self Released

RATING: RRRRR

Review By: Alan Holloway

Yet another band who have made their album due to the generosity of fans, Bristol band Blackwolf are riding the crest of a wave whilst creating more, showing massive potential and needing that little bit of luck to help them move onto bigger and better things.

It’s early days yet, mind. “The Hunt” is their debut album, and will be backed up by a rather sweet tour with The Answer. It’s rather sweet because that band must have been at the top of their list when looking for road buddies. Simply put, if you are a fan of The Answer (or even The Temperance Movement) there’s every indication that Blackwolf will be right up your street, as the musical directions of both are certainly pointing down neighbouring roads.

Blackwolf, whilst being a rather heavy live band, have a real Southern twang to them, with a deep blues groove serving as the base of their sound. There’s plenty of Black Crowes type influence on show, but with that much more gusto and a bigger pair of balls. Vocalist Scott Sharp has a superb, powerful voice that simply soars above the music, completely belying his West Country roots by sounding like he was raised in a swamp and has been fighting to get out all his life.

When done right, this sort of music is incredibly energizing, throwing in passion, soul and pure rock all at the same time. As you can see from the rating, Blackwolf do it totally right. From broody, powerful opener “Mr Maker” through to the upbeat closer “Sea Of Merry” they don’t put a foot wrong. Even when they slow down, for “Sleepwalking” near the end, it’s a soulful three minutes that bounces into guitar driven life for the final sixty seconds and features some trouser tightening notes from Mr Sharp.

I just love it when a new band comes out of the traps hungry for blood, and Blackwolf have made just about the best start possible, with everything they’ve achieved so far attributable purely to their own talent and determination. Where they go next is anyone’s guess, but I’d bet on onwards and upwards as two likely destinations. Get the album and see them now so you can say you did, later.

Facebook Page: BlackWolf Facebook Page

FOREIGNER: 'I Want To Know What Love Is - The Ballads'

Rating: Comp.
Label: earMUSIC 2014
Review by: Urban "Wally" Wallstrom

'Gotta take a little time. A little time to think things over. I better read between the lines in case I need it when I'm older'. Just in time for Valentine's Day earMUSIC releases 'I Want To Know What Love Is - The Ballads', 14 tracks previously never released on one album of FOREIGNER's best and most timeless ballads. Not sure about the never before bit though. First came the 'Acoustique' album and what about, 'Classics', which also featured "new" vocalist Kelly Hansen of Hurricane and Unruly Child fame. Mick Jones, the only Survivor since the original Journey of Foreigner and we're hardly in Kansas anymore, Toto (ouch! lame-o).

Nonetheless. It's the new compilation album with studio versions of 'I Want To Know What Love Is', 'In Pieces', 'Waiting For a Girl Like You' etc. The acoustic versions of, 'Feels Like The First Time', 'Double Vision' and 'Say You Will', where especially the latter might just need those sweet keys of the 80s to become the proper classic? Don't get me wrong, it's a nice version, but nothing beats the originals, huh? It's nice to hear Foreigner's recording of 'The Flame Still Burn', co-written by Mick Jones for the 1998 U.K. cult movie, 'Still Crazy', where it was performed by 'Strange Fruit' and Jimmy Nail. I enjoy it more than any other 'spoof' rock movie out there including Spinal Tap and Jones won the prestigious Ivor Novello Award for that song. Hansen sings his heart out and it's just a darn classic moment of 'lighters in the air'. Sigh. It's just not the same with nokias (feel free to switch to your brand of choice).

Hansen, clearly at his best on modern tracks like, 'When It Comes to Love', 'In Pieces', 'I Can't Give Up' (excellent), but also, 'Waiting For a Girl Like You' and 'Feels Like The First Time'. It's always difficult to compare and match Lou Gramm, but Hansen's really good on these tracks. The title track is especially hard to come around and accept if you're aware of the original. I know that many people say 'I Want To Know What Love Is' (the song) - too pompous, too cheesy, too sappy. Would all the slow songs really be better than they currently are if they included a backing gospel choir? No. Of course not. It's 80s commercial to the extreme and you know it's f***ed up if Mariah Carey decides to cover your tune. Well... okay. I do enjoy her 'Hero' song.

However. I'm not shy to admit that I enjoy it quite a lot. At least as long as I get my dose of Prog, Punk, Pop, Art-Rock, Indie, New Wave, Electronica, Metal, R&B/Soul, etc. etc. Why judge music by genre or style? A good song is a good song is a good song. Could I listen only to Foreigner? No. But that goes for each and every artist/band really. I need to dark, the gloomy, the easy listening, the uplifting, the fun, the complex, the... you get the picture. Each style and genre (with the exception of Black Metal and Modern Rap and ditto Country in my own personal opinion) have great songs and great bands to offer. Do NOT let the 'Music Police' and internet tell you what you can/should and can't/shouldn't listen to. Ten multi-platinum albums and sixteen Top 30 hits speaks louder than any posh besserwisser. Do you really need this comp if you're already the long time fan? The bonus edition with more acoustic songs might give value and now you also know what to give as Valentine gift?

The Ballads will be released in Europe on Monday February 3rd, 2014 in two different editions: as a standard jewel case, and 2CD Special Edition-digipak. Produced by bass guitarist, Jeff Pilson (ex- Dokken), in December 2013, the bonus disc contains previously unreleased performances of all the hits and fan favourites, recorded from an acoustic show for the German radio station SWR1 in July 2013. The band head out on Tour with special guests EUROPE and FM, which kicks off on April 3rd at the Manchester o2 Apollo. All together now, 'In my life there's been heartache and pain'...
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DAVID WARD: "Golden Future Time"

Rating: RRRRr
Label: GFR/Prescription 2014
Review by: Urban "Wally" Wallstrom

Major wow factor! Kick-ass falsetto/tenor vocals similar to Jeff Buckley (RIP) only with the warm tender touch of Philly and the sonic mixture of Art-Rock, Prog-Rock, R&B/Soul, singer/songwriter and electronica. Daring, different, and definitely outside the box. David Ward from Vancouver, Canada, has created an exciting playground for his imagination and versatility to basically run wild across the field.

Intelligent, diverse and capable of both great songwriting as well as top notch vocals in the higher range of the scale. In fact, there is so much going on in his two-part seven track album (also on vinyl) that I'm actually lost for words and not quite sure where to begin? Side A of the very ambitious work of Ward mixes Art-Pop and Prog Rock complexity with meditative synths, singer/songwriter and cabaret influences with the psychedelic leanings of Pink Floyd? Side B, on the other hand, takes us into a new dimension of R&B harmonies, '70s soul guitar spank and vintage synthesizers.

Indeed. One minute you're listening to complex jazzy 7/4 arrangements of Prog and Art-Rock (Slowly Through The Night, Lost). The next it's Leonard Cohen and Jeff Buckley (Ghost In The Woods), only to once again change direction into smashing vintage R&B/Soul (late 70's) and the inspiration of especially Michael Jackson and also Stevie Wonder (Be Here, Golden Future Time, Bird in The Hand).

Not to mention the closing track of "Fly", which comes out swinging with the incredible powerful hook and summer funk radio vibe 'ala Bruno Mars. It's a magical wonder-land and everything is possible as long as you believe. The overall theme and common thread is however quality. Ward's future is so bright that you need to wear shades while listening to Golden Future Time. Release date: February 24th.
www.davidwardmusic.com
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SIDEBURN: "Electrify"

Rating: RR
Label: AOR/Metal Heaven 2013
Review by: Urban "Wally" Wallstrom

Standard pub rockers with a strange appetite for the obvious or the unsung heroes of Switzerland? Sideburn are still trying to break through to the other side after spending the 20 plus year in the shadows of Krokus and basically any other act inspired by Acca Dacca. They have been recording album after album in the same old hard rock template, basic 3, 4 chords and standard arrangements in the vein of AC/DC and Rose Tattoo. The arrival of three young and beer talented new members in January 2012, did absolutely nothing to their overall sound, which sadly lack the finesse of Krokus as they actually managed to inject their own sound to all those fine melodies 'ala Young/Young (Metal Rendez Vous - friggin' classic album).

Opening track, "Bite the Bullet", pretty much set the pace and bog average standard of the entire album. I honestly thought they sang, "Bite The Booty," at first (that's a bit harsh?), but, (heh, butt), it's merely the singing accent of Pierrehumbert and co. I could definitely see the Sideburns' going down just fine at your local zoo, ehem, bar, while drinking your piss warm stella or whatever. They are probably at their best on stage.

They are completely different animals on record though. Their compositions are kind of broken, very tame, and far off the promising target of Electrify. Mastered by 80s soft-rock producer Beau Hill? Strange choice considering its basic sound and production. Have a go at this if you simply need everything in the style of Acca Dacca and Rose Tattoo with just a splash of CCR (Travellin' Man).
www.sideburn.ch/

ROYAL HUNT: ”A Life To Die For”

Rating: RRRRR
Label: Frontiers 2013
Review by Kimmo Toivonen

Royal Hunt's reunion with vocalist DC Cooper on "Show Me How To Live" album a couple of years ago was a success. ”A Life To Die For” is a worthy successor to it, an equally fine piece of work. It's a big, pompous and bombastic album, yet never pretentious or too complicated for its' own good. Mastermind Andre Andersen has written some of his finest melodies for it and DC Cooper's performance is just astounding. It sounds like he's really stretching his vocal style, throwing in some operatic things and changing character like a chameleon. Although the whole band is highly talented, somehow Cooper steals the show this time, more than on "Show Me How To Live". His singing is such a joy to listen to, you never know what he comes up with.

There are only seven songs on the album which is not a lot, but this time we're talking about quality over quantity. Besides, two of the songs are on the epic side of things, namely the opening track "Hell Comes Down From Heaven" (9:28) and the title track (8:38). With all the other tracks being 5-6 minutes long, it's not like you don't get enough music for your money! Anyway, let's take a quick look at the songs one by one...

"Hell Comes Down From Heaven" might be the longest song on the album, but it doesn't feel like it. Okay, the first two minutes include a lengthy intro and the first time you'll hear DC Cooper is at 2:40, so basically the song itself is around seven minutes. It is a very typical Royal Hunt song with somewhat familiar-sounding melodies and not one of my favourites, but a good one all the same. The faster " A Bullet's Tale" features DC Cooper in a wild mood, he does some strange things with his vocals and I like the highly melodic chorus a lot. "Running Out Of Tears" is another ultra-melodic gem, the chorus borders on being pop but I don't mind, it's very catchy. "One Minute Left To Live" follows, a trademark uptempo RH track with a superb chorus again.

If "Running Out..." flirted with pop, "Signs Of Yesterday" doesn't flirt anymore, it's tangled up in the heat of the moment with it... No doubt some of you will find it too poppy or even "schlager" but I have to admit I love it, it's an irresistably catchy mix of slavic pop melodies and metal. You wouldn't think that Army Of Lovers would pop up in a Royal Hunt review but guess what? It just did... pay attention to DC's crazy vocal acrobatics towards the end of the track, fantastic stuff!

As if the previous few super-melodic tracks were too much, "Won´t Trust, Won´t Fear, Won´t Beg" takes us back to Heavy Metal. It's melodic as well, but much slower and heavier than anything else on the album. It's my least favourite track on the album but it's not bad, the competition is just so tough. Then we have the album's second "epic", the title track. This must be one of the shortest 8-minute songs I've heard, as it doesn't feel like that long at all. Another killer chorus and another superb vocal performance from Cooper.

When half of the material on an album is worthy of a place on a band's "Best Of" album and the rest of the material isn't far behind, how would you rate that album? On a scale of one to five? I think it's worth the full set of "R's"!

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NORTHERN AMERICAN: "Wander"

Rating: Single
Label: Heist/Hit Records 2014
Review by: Urban "Wally" Wallstrom

Northern American from L.A. U.S. of A. are equal parts goofy modern pop and lush west coast melodies of the past. According to the record label write-up, they're supposed to be influenced by classic rock such as The Doors and The Byrds?? But seriously as well as honestly. I could not find a single shred of evidence of such elements within these tracks? Keeping in mind it's merely their brand new single displaying the two tracks of, "Wander", and the b-side of "Record Forever".

Nonetheless, it's basic arrangements based on a simple beat, lushy soft grand piano, atmospheric keyboards, and it's more towards the everlasting question of, what if Mick Hucknall (Simply Red) decided to fly to L.A. and record an chill out west coast album with trippy contemporary acts such as Autolux or Local Natives? In fact, the unpredictable percussion breaks and overall smooth attitude of the band has certainly more in common with The Doobie Brothers (Yacht Rock) and early nineties trip-pop rather than The Doors and The Byrds? These songs are for the most part, sedate and low key with lush soundscapes and the very laidback approach.

Sold out shows at Silverlake Lounge as well as local festivals and great response from L.A. radio stations gets the ball rolling for the lads. They are currently in the studio preparing their debut full-length, slated for release this summer, the band have started working with Local Natives produced Raymond Richards. Contemporary and modern trip-pop, lounge, yacht music? Why not?
http://www.northernamerican.us/
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HAPPYNESS: "Happyness" EP

Rating: EP
Label: PrescriptionPR/Wierd Smiling 2014
Review by: Urban "Wally" Wallstrom

Oi geezer! It's Ashley, Benji and Jonny, the up and coming three-piece act from South of London with their self-titled debut EP set for release early 2014. The lo-fi offering, mixed by Ed Harcourt and mastered by Adam Lasus (PJ Harvey, Yo La Tengo, Clap Your Hands Say Yeah) Happyness' gentle tactic amounts to bringing together indie vibes and dreamy psychedelic beats, Wilco, Yo La Tengo, Joy Division (major 'Atmosphere' approach), all slowly boiled up into a diverse and atmospheric soup.

No doubt, a lot of the sounds remind me of the Yo La geezers with their not always direct message and loops to create a spacey illusion. "Orange Luz", mellower than George Harrison (RIP) in the early seventies after spending most of his wake time infront of the bong. That darn soft keyboard in the background takes you on a trip via the eighties and back to the future of UK indie pop.

The nearly instrumental piece, "Lascascadas", takes a lot from the happy Joy Division and their Atmosphere tune without sounding like an complete tosser re-mix. The bass at the centre of attention, just like you-know-what and who. The versatility of the trio as well as their willingness to explore beyond their boundaries - definitely their biggest strength and something to build upon. They may still lack that special 'wow' moment and song that goes straight to the heart like an arrow. Keep building though. I'm def sure it's just a matter of time and experience. Not too shabby.

Beth NIELSEN CHAPMAN: "Uncovered"

Rating: RRr
Label: proper Records 2014
Review by: Urban "Wally" Wallstrom

Have you been listening to any Beth Nielsen Chapman record as of lately? No? It's about darn time you did since she's not just a top notch songsmith for other artists. "Uncovered", however, takes you on a up-to-date trip of her songwriting skill and songs she's written but never recorded that have already been hits or covers by other artists. Lo and behold, 7 out of 12 tracks on the album topped the US charts at #1 and the rest were pretty much all Top 10 hits anyhow.

I believe pop fans are mostly familiar with her songs like 'This Kiss' (Faith Hill). The Nashville believers can look forward to #1 hits such as 'Here We Are' (Alabama), 'Strong Enough To Bend' (Tanya Tucker), 'Nothin I Can Do About It Now' (Willie Nelson), 'Five Minutes' (Lorrie Morgan), etc. Now don't go thinking it's merely Beth, since the album features a veritable who's who of guest musicians, (Kim Carnes, Vince Gill, Amy Grant, Duane Eddy, Gretchen Peters, etc.), impressive production
and an encompassing Nashville feel that all makes it all very twangy and down to earth or if you prefer dust?

It's perhaps a tad too country for my personal taste and the charm of Nashville may not work on the traditional pop, rock fan. Recorded in Scotland, Wales, Northern Ireland, and her own "Tree House" studio in Nashville, BNC's new release bursts open with a crystalline piano, which gives way into "Simple Things", a song about the stuff that really matters in life, with backing vocals by Kim Carnes (She's Got Betty Davis Eyes). Additional recording was done at Squiggle Studios in Harlech, Wales, legendary bassist and longtime sidekick, former Fairport Convention member Maartin Allcock plays on several tracks. The charming Amy Grant along with Ruth Trimble & Eilidh Patterson sing on "Pray" written with, and featuring guitarist Muriel Andersen.

You gotta' love the bluesy, groovy, "Meet Me Halfway", written by Beth and Bonnie Raitt for the latters "Fundamental" release. "Maybe That's All It Takes" and "Five Minutes" are stunningly beautiful songs and the boppy, grand piano tune, "Almost Home", features the background vocals of "Wine Women & Song" artists Gretchen Peters (hint: she's very popular among the hillbillies of America). Ehem. Excellent? I'm positively surprised by the fine quality of Beth's vocal performances and slightly negative about the exclusive U.S. sound of the album. You simply need to be 'Nashville' to fully appreciate this effort. Release date: 20th January.
http://www.bethnielsenchapman.com/

Andi DERIS and The Bad Bankers: "Million Dollar Haircuts On Ten Cent Heads"

Rating: RR
Label: Edel 2013
Review by: Urban "Wally" Wallstrom

The former Pink Ceam 69 and current Helloween singer Andi Deris with his spanking new gang and the first "solo project" in 14 years. What to expect from Andi and the Bad Bankers a.k.a. three sunny geezers from Tenerife, Canary Islands? Well. I certainly did not expect to hear such nonsense coming out from the loud speakers as the opening three tracks of "Cock", "Will We Ever Change" and "Banker's Delight". Major shock value as the songs are basically rubbish and utterly forgettable in the vein of any third rate version of Rob Zombie.

Lyrically, the album deals with crap managers, crap bankers, crap politicians, and basically any or everything that's not to his liking. It's merely a shame that Andi's 'top 100 current topics to complain about' did not include crap songwriting as any decent performer would quickly erase those opening tracks and re-start from scratch. Things are looking up with "Blind" (pun intended?) even though it's kind of wimpy and power ballad-ish.

The proper songs are all mid-through the album with catchy little numbers such as "Don't Listen To The Radio", "Who Am I", "Enamoria" and "This Could Go One Forever". It's a very schizo album with two different sides of the metal coin and it's shocking poor at times. Nah. I'd rather play me some 'Done By Mirrors' as this is clearly rock by numbers...

ICED EARTH: "Plagues Of Babylon"

Rating: RR
Label: Century Media 2013
Review by: Urban "Wally" Wallstrom

The young beginner fan and or novice listener of the metal genre will probably enjoy this quite a lot? Everything from the art-cover and dodgy title (always include the word 'Plague' if possible) to the lyrics that deals with various diseases unleashed by evil rulers and emperors in order to control/destroy the planet and keep the masses on their knees, the perfect setting in which the U.S. Iced Earth band re-visit their heydays?

In fact, several parts and large segments of this metal saga will most definitely remind you of their bone crushing 1998's album, "Something Wicked This Way Comes", only worse, basically not as interesting, since it's all been done before. I'm not saying it's the complete disaster of an album or worthless piece of you-know-what.

However, the guitar shredding and crunchy rhythm guitar work aside, 'Plagues Of Babylon' feels like something the band's already recorded with much better result I may add. Stu Block is the capable, but rather blunt metal shouter, and I miss the finesse of previous singers. Simple elements of old that will merely remind you of better days is sadly not enough to please this particular reviewer. The first download single of the album, "Among The Living Dead" (feat. guest vocals Hansi Kürsch of Blind Guardian) one of few good tunes, and the country cover of "The Highwayman" (featuring Russell Allen and Michael Poulsen) is interesting to say the least. The rest is more of the poor Iron Maiden-ish metal as of lately and not like in the good old days. Meh.

SUKH: "Kings"

Rating: RRR
Label: Indie/PresciptionPR 2014
Review by: Urban "Wally" Wallstrom

Wow! Imagine going through (high)school in the U.K. with a name like Sukhdeep Krishan. Let's not actually since we'll mainly focus on the music and Sukh's debut album, "Kings", certainly fit the description of very soft and atmospheric U.K. indie jangle pop/rock. It's an album bursting of dreamlike innocence and it emphasizes the feeling of desolation and growing up in the Manchester scene. It's basically a mixture of singer/songwriter material and gentle guitar melodies where the multi-instrumentalist invites the listener into the inner world of his vivid mind.

Influences shines through on several tracks and it's everything from Belle and Sebastian and Coldplay to Radiohead and Joy Division. Do however not expect to find a lot or hardly any uptempo tracks though since it's a very laidback and 'Yellow' experience throughout the album, if you get my drift? The backup female vocals add the soft eighties indie touch and the lovely "Just What I Thought" is a nice throwback to the golden era of jangly U.K. pop rock. While the spirit of Indie music is in 'Kings', its soft beauty belongs to a different dimension completely. Have a look at the animated video of "Den" and its atmospheric "Joy Division-gone singer/songwriter" music at tube. Sukh is definitely a star in the making...
http://www.iamsukh.com/
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HEART - "Fanatic Live From Caesar's Collosseum"

 Rating: N/A

Label: Frontiers

Review By: Alan Holloway

Heart have been a band that are all about ups and downs, their career bouncing around like a rubber ball in a bathtub. At the core, however, has been gifted musicians who can write some excellent songs, with many of those songs beating the ass off of the ones only casual fans are aware of. Their last two albums, "red Velvet Car" and "Fanatic" have shown a band revitalized, embracing their rock history and having fun with it, so it's about the right time to show what they can still do live.

As is the norm these days, and rightfully so, you get a DVD and CD recording of the concert, filmed in Ontario, Canada in 2012. Gone are the days when you had to imagine the band performing, as now you can watch it and get that little bit closer to the experience. Even when the set and band aren't exactly performing cartwheels and spitting fireworks out of their bums, as is the case here, it's great to see Ann, Nancy and the boys looking so confident, and it naturally raises the experience in a way a CD just cannot do.

Despite Ann stating that they would encompass the band's entire history as she introduces the wonderful "Dog & Butterfly" (on which she sounds terrific), they skip "Brigade", "Desire Walks On" and "Jupiter's Darling" completely, preferring to put five tracks from "Fanatic" into the set, although it has to be said this is not a bad thing. Those who only watch music TV will enjoy a cracking version of "What About Love", as well as "These Dreams" and "Alone", whilst Guitar Hero players will see how "Crazy On You" is really played. There's fourteen tracks in total, and none is less that excellently played, from opener "Fanatic" to closer and fan fave "Barracuda". My only personal disappointment is that my own favorite, "
Never", isn't included, but that's just me.

With a string section complementing the band and a tight sound mix that shows off their talent, "Fanatic Live..." is certainly a DVD that can be enjoyed time and time again, from the older, more acoustic tracks to the out and out rockers and everything in between.An essential purchase for fans of the band and their back catalogue.

ANGELICA: ”Thrive”

Rating: RRRR
Label: Frontiers 2013
Review by Kimmo Toivonen

Not to be confused with 80'ies Christian hard rock band by the same name, Angelica (last name: Rylin) is a Swedish singer best known as the vocalist of The Murder Of My Sweet. "Thrive" is her first solo album and it's a departure from TMOMS's sound. We're dealing with modern-meets-vintage AOR here. Heart, Robin Beck and Romeo's Daughter are mentioned as major influences is the press release, spiced up with producer Daniel Flores' modern touches. The concept is pretty similar to that of Issa's albums on the same label, and indeed some of these songs sound like they could have been written for her.

Angelica is a fine singer and over the weeks I've been listening to this, I've grown to like these songs a lot. Initially I liked it, but wasn't totally blown away, but I have to say "Thrive" has become one of my favourite albums of the year. If you've only heard the first single/video "Breaking My Heart" you do not have the whole picture. It's a good song but nowhere near the best one of the album. There are several songs which are more cleverly written. "I Am Strong", "To Your Rescue" and "You Will Never Win" may not revolutionize the art of writing AOR songs but they do have more twists and turns that the average Journey ripoff songs so common in the genre. Other songs I want to mention are the fine ballads "Can't Stop Love", "Losers In Paradise" and the closing number "Take Me To Your Heart", which has a very cool and surprising pre-chorus. If only the chorus had been as good. It's nice, but somehow it just screams "eurovision pop"!

There really isn't a weak song on the album, so this is pretty close to a perfect 5R rating. Some of the choruses are a bit too predictable for their own good, hence it's only a very strong RRRR.
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NAKED IDOL: ”Filthy Fairies”

Rating: - (EP)
Label: Rascal Music Finland 2013
Review by Kimmo Toivonen

Naked Idol was formed by ex-Lordi bass player Magnum in 2006. This year they signed a deal with an indie label called Rascal Music Finland. So far they’ve released a few singles and this 5 track EP.
Naked Idol could very well appeal to the fans of Lordi, as the band is obviously very much influenced by the 80’ies hard rock and metal. Not to mention the fact that both ex-Lordi drummer Kita and Mr. Lordi himself make cameo appearances on the EP. However, the band’s sound does have a slightly contemporary edge, especially the guitar work is quite ”modern-sounding”.

”Shattered” is the band’s latest single and the opening track of this EP. It’s one of the more modern-sounding tracks of the album, with effected vocals and grinding riffs, but the ”salvation” comes in the form of a very melodic and catchy hook. ”Hungry (For You)” is pretty straight-forward, catchy eighties’ styled hard rock, while the title track is the one with Mr. Lordi. Unfortunately it sounds like a left-over from a Lordi album, the usual croaky vocals and a rather irritating chorus. The balladic ”Jane” is my favourite track of the album, reminding me a bit of Alice Cooper and Kane Roberts. ”Devil Ridin’ Shotgun” is another somewhat Lordi-like track, with gruff vocals from the band’s singer Malcolm and a chorus hook that wouldn’t sound out of place on the monster band’s latter day albums.

All in all, this EP promises good things for the future. The band has an ear for a good melodic hook and I’m hoping that their first full-length album is full of them.
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BENEDICTUM: ”Obey”

Rating: RR
Label: Frontiers 2013
Review by Kimmo Toivonen

If you’re an avid collector of everything released by Frontiers, this is one album that you might want to listen before purchasing. It’s very different from the label’s usual melodic hard rock and AOR stuff. Benedictum are a female-fronted heavy metal band and they are not even flirting with AOR. Okay, they’re not as extreme as, say, Arch Enemy, but they’re still pretty damn heavy and uncompromising. The first impression I got was ”Judas Priest with a female vocalist”, and I’m still sticking to that.

Vocalist Veronica Freeman is quite impressive, she belts out the songs with passion and the rest of the band back her up competently. The problem lies within the songs - apart from a couple of exceptions, they are just too forgettable. There are too many choruses which are based on simple, monotonic phrases screamed out loud.

Interestingly, both of the album’s standout tracks feature guests. ”Cry” is a duet between Freeman and Tony Martin of Black Sabbath fame, and it’s a very good balladic track with both of the singers doing a fine job. Right next to it in the tracklisting is ”Thornz”, which features A Sound Of Thunder vocalist Nina Osegueda sharing the vocals with Freeman. It’s a more of an uptempo track with catchy guitar work and a decent chorus hook. Unfortunately the rest of the album doesn’t appeal to me, hence the low rating. However, if a ”Painkiller”-era Priest with aggressive female vocals sounds appealing to you, do give this album a try. And ”Obey”!
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DAMNATIONS DAY: ”Invisible The Dead”

Rating: RRR
Label: Nightmare 2013
Review by Rich Dillon

The band Damnations Day was given life in 2005 in Geelong, Australia before moving to Melbourne shortly after the release of their EP in 2009. The band was a three piece unit then, comprised of Mark Kennedy on vocals and guitar, Luke Vinken with the bass and Dean Kennedy behind the kit. Jon King joined the fold in 2012, taking up the lead guitar position.

Damnations Day cite influences such as System of a Down, Metallica and Iron Maiden and have amazingly self-funded their own successful New Zealand tour in 2011. Among other live dates they are scheduled for two festival performances, Steel Assassins in early November 2013 and the Stormrider Festival in May 2014. After eight years of playing around Australia and gathering a sizeable following, Damnations Day served up Invisible, The Dead on September 17, 2013. Prior to the release of this full length debut the title track was issued in video form in August as a teaser and one can also find some recent live performance videos on you tube.

While Invisible, The Dead is not a totally unenjoyable listening experience, the progressive power thrash sounds are not this reviewer’s particularly preferred cup of tea. Of the nine compositions included in the 37 minute collection two are acoustic ballads, Ghost In Me and A World To Come, the album closer and they seem a little out of place to me. As for the rest of the album I find it difficult to evaluate or choose a standout cut as the other tracks all sound very similar with some decent riffs, a sort of meld of power metal and thrash, but all seem to be lacking something, not quite pulling it off. The potential is there for Damnations Day, maybe it will grow on me with more listens.

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AOR: "The Secrets Of LA"

Rating: RR
Label: AOR Heaven 2013
Review by Dan Mann

Now I'll start by saying I've liked the other AOR releases and Frédéric Slama must be applauded for bringing together such a wealth of talent. However, on this occasion I'm afraid this release has not grabbed me in any shape or form. Yes there are some great vocal performances, well apart from Bob Harris, whose performances on the tracks 'Out Of The Past' & 'The Main Attraction' are truly awful. I've read plenty of glowing reviews of this album over the last couple of weeks and have wondered whether I've been either listening to a different album or my taste in music has somehow gone screwy.

Before you all start shouting that I've obviously not listened to it properly, I have sat and listened to it all the way through several times without interruption. And my opinion has not changed. Anyway the only standout tracks for me are 'Stage Struck' with Jeff Scott Soto on vocals & 'The Name Of The Game' with Robin Beck on vocals. The remainder of the album just sounds all the same to my critical ears, apart from the two awful songs I've already mentioned. I've rated it 'RR' due in part to the talent involved, otherwise it would of only merited a solitary 'R'.
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SHOCK: ”Once Denied”

Rating: RRRR
Label: Shock 2013
Review by Rich Dillon

Canadian band Shock’s debut CD, "Once Denied" has been almost 30 years in the making!! That’s a helluva long time to wait for a first offering, but it was certainly worth every minute of time.
Forming in Ottawa, The Great White North’s capital city in 1985, Shock was considered in many circles to be the best unsigned band of the late 80’s era. It was the frustration in finding a suitable record deal that ultimately led to their disbandment in 1990, never issuing a recording. This earned them another tag line “the best band to never release an album", but that moniker was abolished when “Once Denied" hit the shelves in May of 2013. The band, comprised of original founding members, Tony V handling the vocal requirements, John Tennant wailing on the guitar and Steve Monette’s thundering bass are joined by newcomer Chad Walls behind the kit in this venture which has seen them also opening for Canadian thrash heavy weights Annihilator.

"Once Denied" is a little short on the run time with only 8 songs, but all killer, no filler by any means….this album is all hard rock gems with decidedly thrashy overtones, each song getting better the further you enter the album. All of the songs were chosen from the band’s extensive back catalogue for this epic release, almost thirty years in the making. “Slashing to Live", may well be there most widely known song and could be considered the lead single given that it has also received the video treatment in the way of a cartoon depicting the story and message of the song concerning women’s self defense. “Paths of Glory" also has a video to accompany it and both are a good introduction to the albums sound. Other stand out cuts include “Fighting Chance", Splitting the Atom", Flaming Towards Earth", “Full Speed Ahead", “Driven To Kill" and “I’m Dangerous"....oh wait I’ve just named all eight tracks as absolute stand outs of the record…….and there’s a reason for that! Once Denied is the kind of album that grows on the listener with each spin, infecting you like a drug that you just can’t get enough of…..I listen to it at least once a day and with it’s relatively short runtime that’s easy to fit into even the busiest of schedules….a great way to start the day!

Given the repertoire of music that this group have stashed away, one can only hope that Once Denied will be followed with more releases. Good things come to those who wait…….and you’ve been waiting for this whether you know it or not!
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BOSTON – “Love, Life & Hope”

Label: Frontiers

RATING: RRR

Review By: Alan Holloway

Okay, so it’s been a mere eleven years since the last Boston album, the okay but nothing amazing “Corporate America”, and mainman Tom Scholz has been busy in his basement knocking together an product that is a bit of a Frankenstsin’s monster when it comes down to it.

In fairness, “Love, Life & Hope” starts off pretty well, with David Victor and Louis St August harmonizing well on the catchy “Heaven On Earth”, followed by the much missed Brad Delp on the remixed (but not much) “Didn’t Mean To Fall In Love” (originally on "Corporate America"). the former is a traditional Boston-ish tune, with a nice bounce and refrain, and the short instrumental that follows, “Last Day of School”, is a fine piece of work from Scholtz. After that it’s not as good as maybe we would hope, and the pointless inclusion of two more "remixed" tracks from “Corporate America” has to be mentioned.  Scholtz has made it clear that he feels the album was under appreciated, but why we have to have “You gave Up On Love” and “Someone” remixed is a bit of a worry when he spent so bloody long perfecting them the first time round. Good tracks, sure, but after eleven years I expect an album full of new material.

Delp appears again on “Sail Away”, with Kimberley Dahme (Who also has her own exclusive vocal lead on “You Gave Up On Love”), whilst Tommy DeCarlo does a fine job on the upbeat title track and album closer “The Way You Look Tonight”.  Even Scholtz himself gets in on the act with “Love Got Away”, and although he gets away with it I was glad he didn’t appoint himself as a permanent lead vocalist.

With “Life, Love & Hope” Tom Scholz has visibly tried to make a Boston album for Boston fans, and when he gets it right it’s great fun. The inclusion of three remixes and a few forgettable tracks amongst the gems means that, in the end, this is not an essential purchase. The most fitting eulogy for Delp came with the wonderful song with Barry Goodreau, “Rockin Away” (if you haven’t heard it, we've been nice and put it at the bottom of this review), whereas this is just another Boston album. The lack of two or three kick ass tracks hurts this one, so maybe in ten years we’ll get a better release, but don’t hold your breath. 

Official band Site: www.bandboston.com/‎ 

BURNING KINGDOM: ”Simplified”

Rating: RRRR
Label: Avispa Music 2013
Review by Kimmo Toivonen

Earlier this year we did an interview with Burning Kingdom main man Manuel Seoane. He had assembled a new band featuring three Swedish musicians and the one and only Danny Vaughn of Tyketto on lead vocals, and was pretty excited over this new album. He had every reason to be, as he and the band have succeeded in recording a very good album.

”Simplified” is a good title for the album. It’s a bit rough around the edges, the production isn’t as smooth and polished as some other releases, but in a way that gives it a warm and ”human” sound. Vaughn’s vocals sound really live, it sounds like they haven’t been filtered or autotuned to match ”modern day production values”, which is actually a good thing.

Speaking of ”modern day production values”, I must mention the intro ”Stay Awake”. Apparently it was put together by the producer, and the band had nothing to do with it. They actually asked it to be removed, but in the end the label decided to use it, bcause ”valuable studio time had been spent on it”. That’s pretty crazy, as it doesn’t suit the album at all, featuring electronic sounds and spoken words (or is that rapping?) with a bad accent… when I heard it I thought I had put a wrong CD into the player!

The actual Burning Kingdom music on the album is something altogether different. Tyketto fans will find a lot to enjoy, even though some of the tracks are slightly more metallic with Seoane throwing in some really wicked riffs. Some of the best songs for my money are the first single ”Watching As It Burns”, the melodic and quite Tykettoesque ”From On High” and the keyboard-heavy title-track. ”That’s My Boogie” is probably the weakest of them, confirming again that if there’s a ”Boogie” in the songtitle, then I cannot possibly like it… strange but true.
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PLACE VENDOME: ”Thunder In The Distance”

Rating: RRRR
Label: Frontiers 2013
Review by Kimmo Toivonen

The third ”episode” of Place Vendome is here. As you may know, Place Vendome is an AOR project featuring the former Helloween vocalist Michael Kiske working alongside Pink Cream 69/Unisonic bassist/producer Dennis Ward, PC69 guitarist Uwe Reitenauer, Vanden Plas keyboardist Gunther Werno. For this third album, the band replaced drummer Kosta Zafiriou (also PC69) with Dirk Bruinenberg (ex-Adagio).

While the first album was mostly written by Dennis Ward, the second one ”Streets Of Fire” and this latest release have been put together from songs provided by Frontiers’ ”in-house” writers. Yes, it’s another Frontiers project album! Yes, there’s Del Vecchio, Karlsson, Söderqvist, Tolkki and Denander involved! Yes, it doesn’t sound drastically different to the others! Yes, I like it! No, I’m not on their payroll!

It’s getting increasingly strange that a handful of people are responsible for a big share of Frontiers’ output, but as I’ve said it before, as long as the quality is there, I’m not going to start complaining. Okay, this isn’t as strong an album as ”Streets Of Fire”, but it’s still very good. Ward’s production is clear and smooth, and Kiske’s voice suits this kind of material perfectly. Maybe it’s a couple of songs too long, as there are a few that are pretty generic, but you can always skip those and still find plenty of songs to enjoy.

My favourite songs on this album tend to be slightly on the more dark, melancholic side of things. ”Power Of Music”, ”Lost In Paradise”, ”It Can’t Rain Forever”, ”Heaven Lost” and ”My Heart Is Dying”… well, some of the titles already suggest that these aren’t happy-go-lucky summertime anthems, but moody, highly melodic songs. As for the rest, they are all reasonably good AOR tracks, but maybe the final touch of magic is missing from them.
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TABERAH: "Necromancer"

Rating: RRRR
Label: Dust On The Tracks Records 2013
Review by Rich Dillon

Hailing from Tasmania, Australia, the band Taberah started out in 2006 playing their first pub gigs when they were just 16 years of age, reminiscent of another Australian band, Silverchair who also started at a young age. As one of Australia’s fastest growing names they’ve opened for the likes of Paul Di’Anno, Steve Grimmett and Tim “Ripper” Owens, but it was being hand picked by Lemmy to open for Motorhead that really stands out in the resume. Self described as “heavy metal played with the spirit of rock and roll” and citing influences ranging from and including AC/DC, Queen, Motorhead, Thin Lizzy, Black Sabbath and Iron Maiden, their extensive touring schedule and entertaining live shows have garnered them a reputation as a “must see” band. Founder Jonathan Barwick handles the guitars and vocals while co-founder Tom “Bam Bam” Brockman sits behind the kit. The boys are joined by guitarist Myles “Flash” Flood and bassist Dave “The Doctor” Walsh to round out this sensation, or dare I say this “Thunder from Down Under”. I’m not sure where the band took it’s name from but from what I could find on the internet, Taberah, which means “burning” was a place that the Israelites passed through after the Exodus from Egypt, named because God, tired of their complaining, set fire to them.

Necromancer is their second release and follows 2011’s debut of The Light of Which I Dream. I cued up the digital download for play whilst performing some other tasks and chores. Immediately I was hooked and drawn in by the chunky bass lines and the larger than life guitar riffs leading the charge on the opening cut, “2012”. “Dying Wish” is up next, continuing the assault and found me neglecting the tasks at hand as I got deeper into the Taberah sound. The aforementioned influences can clearly be heard throughout, but the music is flavoured with a real euro/power metal taste as well.

From the catchy choruses like that of “Burning In The Moonlight”, guaranteed to have you humming along long after the song fades away to the charging assault of the abso-frikking-lutely awesome “The Hammer of Hades”, which is unfortunately the lone track under the four minute mark, this recording is chock-full of big crunchy riffs and catchy melodic hooks. The three-song punch to the gut finale of “The Hammer Of Hades”, “My Dear Lord” and “Burn” coupled with the lead cut of “2012” are worth the price of admission alone, but everything here is good, the sole exception being, “One Goon Bag Later”, the 1:49 minute instrumental that could have easily been omitted in my opinion.
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DREAM THEATER: "Live At Luna Park" DVD (2 Disc Set)

Rating: N/A (superb)
Label: Eagle Vision 2013
Review by: Urban "Wally" Wallstrom

Oh lordie, lordie. It has been quite the Prog-Metal exercise to watch the entire 2 disc set DVD of, 'Live At Luna Park', including original live show, its documentary, behind the scenes, and bonus music material. Disc one: 229 minutes and Disc Two: 68 minutes (approx). It's clearly a wet dream to any Dream Theater fan as everything reek of class from the camerawork and lightning to the crisp metal sound. You have front row seats and a backstage pass as the band rocks Luna Park and Argentina.

As the chant goes up from the 8000 strong Buenos Aires crowd, you'll quickly notice why they decided to shoot the DVD in South America instead of America. They are truly loud and are flippin' out from the first note to the last one and it's very much about energy. The band on the other hand are tearing up their audience with complex and blistering passages and absolutely stunningly performances by all musicians involved. The video quality, editing and the overhead shots are truly high definition and breath-taking. There's a total of 23 songs excluding drum, piano and guitar solo. 'Bridges In The Sky' works perfectly as an opener as the very loud Argentina crowd sings along to the refrain. The acoustic set (The Silent Man, Beneath the Surface) brings another side to the songs inbetween all that aggressive prog. I should also point out that bonus songs found on disc two - more from the two night sold out concerts at Luna Park including 'These Walls', 'Wait For Sleep', 'Pull Me Under', plus three more.

Their lead vocalist James LaBrie may have sounded a bit jarring and strained on previous live occasion, however, in Argentina he has really gone back to basics and is more aware of his register and range. The rather awkward and fun inbetween stage banter works naturally even though some of the audience may not agree on everything. Crowd interaction is difficult at times. Women are supposed to cry and men are not? New drummer Mike Mangini is a monster behind the kit and his level of performance is awe inspiring. The 16 cameras and 360' work is smashing fun, but, the geezer sitting on the floor right behind Mangini (roadcrew member? drummer tech?) throughout the entire concert is annoying to say the least. It takes away a lot of fun with 360 actually.

The bonus material and its documentary goes through stuff such as Portnoy leaving and that none of them saw it coming. "It was like going 100 miles an hour into a cement wall", as their drummer decided to leave after 25 years. Mangini speaks about being brought up as the classical musician and having 7 tom-toms to work with, "What I do is I assign an entire octave to each three toms". Nerdy but fun information. Rudess speaks about his magical keyboard that rotates 360' and does the tilt. Simply because he thinks it's boring to just stand their on the spot. Jordan truly enjoy 'The Wizard' nick so much that he's got the hat and sort of the beard. He's no real wizard until it's Gandalf size beard though. The humble Myung on the other hand lets his bass do the talking.

There's also the sound-check, pre-show rituals and the quick dinner in Buenos Aires. What's on the plate? Hint: Argentina's and this particular town's most famous dish of course. The making of the DVD: more nerdy info, the two directors are taking you on a short and not too interesting trip to their video-truck and its control board. Final verdict: Essential stuff If you are a Theater fan, and the sweet crying girl must be pleased with her place in the spotlight. Do Cry For Me Argentina?
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DEF LEPPARD - 'Viva Hysteria' CD/DVD

RATING: N/A (but it's great)

Label: Bludgeon Riffola/Frontiers

Formats: CD, Blu Ray, DVD

Review By: Alan Holloway

Let's be honest, live albums are not, generally, what they used to be. Everyone was so excited when Iron Maiden released "Live After Death", but these days they are ten a penny, often polished to the point of sounding like a Greatest Hits CD. Ho and indeed hum. personally, I don't review live albums if the company won't send the accompanying DVD as well (if there is one), because, well, because I said so. the DVD to Def Leppard's cool new live thing, because it means I now give a toss.

The story is thus: Def Leppard were offered a residency at Las Vegas, and from their comments the main reason they accepted was the chance to sleep in the same bed for a month. The second reason was that they could do what people had been badgering them to do, which is play their biggest album in it's entirety, something they haven't done since 'On Through the Night', and then it was only because they didn't know any other songs yet.

mention has been made of Joe Elliot's vocals for this release, and whilst I accept it is a bit throaty it's certainly not a deal breaker in any way. As for the rest of the band, they sound brilliant, as good as when I saw them on the original tour back in the dark ages. Phil Collen looks like he pumps more iron than Kane Roberts, and as usual you forget that Rick Alen is, um, limbistically challenged. the camerawork is exemplary, proving that if you put some money into it you get a much better live DVD, something already realized by AC/DC and iron maiden for recent releases. In addition, the sound mix is spot on, so if your TV is connected to a big ass sound system you'll genuinely feel like you're really there, only without being able to gamble your life savings away. As a small bonus the encores are "Photograph" and "Rock of Ages", which round off a fine one and a half hours or so.

So the "Hysteria" part of the concert is fine and dandy, but there's more to this story than meets the eye (and indeed the DVD back cover). What you also get is two support sets from the cunningly named Ded Flatbird, who are basically Def Leppard in different clothes supporting themselves. This could be dismissed as a lame gimmick if it wasn't for the setlist. "Good Morning Freedom", "Mirror Mirror", "Rock Brigade", "Another Hit & Run" and eleven more tracks you thought you'd never see them play live ever again. To be honest, this is worth the cover price on it's own, and is a superb extra. On top of all this there's a five track acoustic set in front of a small group of fans, featuring a medley of five more tracks that aren't played elsewhere. Value for money? Fuck yeah.

"Viva Hysteria" is one of the best DVD packages I've yet seen. You can buy it bundled with the audio version if you want, but there's no difference to the content so it's all down to how you want to do your listening. If you are a Leps fan this is absolutely essential, and will remind any who have wandered off just why they loved the band in the first place.

GODSLAVE: "In Hell"

Rating: RRR
Label: Day One
Review by Martien Koolen

Godslave is a German metal band and In Hell is the title of their new release, which is their third since the band was formed in 2007. This album is again very heavy combining elements from German trash bands like Kreator, Sodom and Destruction and Bay Area trash elements. So, right from the start the music is loud, heavy and filled with trashy and fast guitar riffs and hooks, making it hard to keep your head still.

Most of the 11 songs are very speedy and sound like so many other trash metal bands; not bad, but ever so not original! Best songs for me are: S.O.S. which starts with a nice quiet guitar solo and the instrumental song Intermission Accomplished, featuring a organ solo!! This One Step is also an instrumental one but that one is rather fast and gloomy. In Hell is not a bad album but it will only reach the die hard trash metal fans I am afraid...
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TWELVE CLAY FEET: "More Naked Than Obscene"

Rating: RRR
Label: Kiln/PresciptionPR 2013
Review by: Urban "Wally" Wallstrom

Twelve Clay Feet's second album, "More Naked Than Obscene" is already receiving comparisons to Kings Of Leon and Brian Jones Town Massacre. I hardly agree on everything. However, it's been quite the transformation since last we heard them bang the bells. They've clearly replaced most of their Grungy rock attitudes of the debut album, "Totem Bells", and being the ambitious outfit they are, Twelve Feet Clay have no trouble packing the new album full of melodic and modern arena guitar rock.

The gruff vocals of Ian Jeff is no doubt the most edgy point of the band nowadays as the arrangements of Pearl Jam and Soundgarden are simply no longer to be found within these ten tracks. As soon as they rip into opener, 'By The Station Light', the Cambridge based UK act make this music style their own though, proving that not only have they left Seattle long behind, but that the rush of arena rock can still be used to great effect. And as soon as you notice that they are now in effect the moody U.K. guitar band and as subtle as Ted Nugent and Fox News, you might as well give in to the comparison to England's answer to Kings Of Leon. Add the husky vocal approach of Nickelback and the healthy dose of U2 and Radiohead, and you're even closer to the core.

Strangely enough, 'By The Staion Light', had me thinking in the weird ways of, what if Blackie Lawless decided to join the lads from Kings Of Leon? Mind you, Jeffs has a great gruffy voice, not always comparable to old Blackie though. The album is mostly all about the modern arrangements of rock numbers such as "You Can't Stop" and the following, "Hailstones", probably the best friggin' example of todays indie rock, alternativety, it hits boringville city limits on some of the tracks towards the middle of the album. I'm not that impressed by its first single, "Wrecking Ball", for that matter. There are better ones on the record and I'd rather just hang out with the smoothies of "Cities On Fire" or "The Debutante". Or why not the quirky uptempo U.K. indie rock number of "Last Rat In Hemelin". Close to 4... but 3 strong R's - my final verdict.
http://www.twelveclayfeet.com/
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Giulio GARGHENTINI: "Believe"

Rating: RR
Label: Tanzan Music 2013
Review by: Urban "Wally" Wallstrom

Do you Believe in Giulio Garghentini? The ten tracks debut solo album by the former Mantara and Darkfire vocalist (which I do not know or have heard) goes through many styles and sub-genres of hard rock and pop rock. He's the front man of the Bon Jovi cover band as well as vocal teacher, and the man has also worked with the musicals of 'Girda da libertá' and 'Jesus Christ Superstar' in his homeland of Italy. Mamma mia. That's a lot of... ehem. Let's not include the dodgy catch phrase from the horrible "Anti-Italo" commercial of the past in the write up.

Released through the Tanzan Music label, you may also expect guitarist Mario Percudani as the excellent guest musician. It's difficult to pin-point the music of "Believe" though as each track is very different from the other. To be frank. It's an awful mish-mash of seventies hammond rock, the odd musical theme song, funky beats, bluesy guitar work, eighties glam-rock, and not to mention the out and out Gospel choir? Blimey. Clearly we don't know which direction to go? It's perhaps just a bit too much food on the plate to the average consumer?

It's great fun to try something different from the rest of the sound-a-likes, you say? Absolutely. I could not agree more and I do not personally have a problem with all these elements and styles. Queen and Freddie Mercury did everything and more on their albums and they managed to have the rather successful music career. Simply have a look at my work throughout the years and notice that I enjoy the whole full spectrum from Pop to Soul, Metal, Synth, R&B, West coast, Sleaze, Thrash, 80s New Wave, Romantic, Classic, Goth, UK Indie, Hard Rock, Punk, Grunge, Prog, Art-Rock/Pop, Singer/songwriter, etc. etc. It's not a question of style. It's rather the lack of great songs that makes me question the work of Garghentini. Pick of the bunch: the uptempo hammond/keys number of "I Can't Stand The Rain".
http://www.giuliogarghentini.com/

TURBOCHILD: "TurboChild EP"

Rating: RRR
Review by Dan Mann

Let me start by briefly telling you a bit about the band. Originally known as Six Barrel Syndicate, this quintet hail from Denmark. The band comprises of Richard - Lead, Buster - Lead guitar/backing vocals Bue - Rhythm guitar/backing vocals, Buster - Lead guitar, backing vocals, Bue - Rhythm guitar/backing vocals, Jakob - Bass/backing vocals & Adam - Drums. The EP was recorded live in Dead Rat Studio in Denmark and was produced by Jacob Bredahl (former singer in Hatesphere).

And so to the EP itself. Well according to the band's own description, the EP is a cocktail of catchy songs and explosive live energy. I certainly can't disagree with that. Kicking off with 'Heavy Thunder' straight away they're in your face with a raw yet controlled energy which is much lacking in a lot of releases these days. Next up we have 'Kings and Queens' a rip roaring foot stomper of a song. I can here quite a few hints to other bands, imagine the Black Crowes with a hint of Jackyl thrown into the mix. The third track, 'White Lies' continues in a similar vein, with a very tight rhythm and some excellent guitar work by Buster with just the right amount of hint of 70's rock bands of old. And so we come to the fourth and final track, 'It Ain't Over Yet'. If I'm honest I found the sound quality on this final track a little harsh to my ears and on repeat plays of the EP I found myself skipping this track, which is unfortunate.

Overall I found the EP to be energetic & enthusiastic sounding. I feel that if this was an album it would need breaking up with one or two slower numbers to avoid maybe giving the listener some fatigue through hearing the same speed & tempo throughout.

I give the EP RRR and will be keeping an eye on what direction they move in going forward.
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