KXM: "KXM"

Rating: RRRR
Label: earMUSIC 2014
Review by: Urban "Wally" Wallstrom

Mega Power Trio - Lead vocalist/bassist Dug Pinnick (King's X), guitarist George Lynch (Dokken, Lynch Mob) and drummer Ray Luzier (Korn) got together to jam last year and the result is the superb, groovy and fun record. To be perfectly honest. It's not that far off the mark from your ordinary King's X album only with the hint of Dokken and Lynch Mob. However, don't go thinking it's the typical 80's guitar work of Lynch, since it's more about the overall beat and jamming along to the excellent groove.

At first "Stars" is all about Sepultura-like tribal drumming and the hypnotic beat though. Luzier beats the crap out of his kit and there's plenty more to discover. The ultra heavy guitar riffing by Lynch and his close to jazzy solo piece, very schizo, different, and frankly just out there. I do not get the distorted vocals at all though (verse only), especially not since Pinnick is the incredible soulful singer and it's simply not right to hide those magical pipes behind the masque of distortion. "Rescue Me", feature the fun riff ála Lynch Mob and huge vocal harmonies ála King's X on the chorus part. "Gunfight", the proper kick to the head with its larger than life beat and groove. "Never Stop", the sublime R&B ballad track oozing of soul and sassy guitar lines. "Faith Is a Room" is the gospel of Dug and the perfect flow of the band fronted by the X-star. "I'll Be Ok", I know it's getting boring, but it's basically the King's X arrangement right down to the shoe laces. Killer groove by Luzier and the flashy solo by Lynch. Speaking of flashy solo, check out the instrumental piece of "Tranquilize"

The tres hombres boast loads of skill and quality and it all comes down to if you enjoy the flow and to just groove along to the music or not? I'm the massive King's X fan anyhow so this fits your truly like a glove. It's the powerhouse rock album with ditto vocals and the mega tight and fun rhythm section. They'll be rocking your socks off and don't be surprised if you end up in front of mirror doing the KXM pose (huh?). Recommended. (earMusic Euro release 2th June)
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Sebastian BACH: "Give Em Hell"

Rating: RRR
Label: Frontiers 2014
Review by: Urban "Wally" Wallstrom

Correction. Give 'Em Hell ... as well as the worst artwork cover of the year in order to scare off any potential new buyer of your latest CD? Black Sabbath's Born Again as the adult or merely your creepy necrophilia (necrophile, no?) hanging around at the local graveyard? Nah. It's merely Birk striking the Seb Bach rock star pose and what ever makes him happy. The latter remark(s) has absolutely nothing do with the music though. Bang out of order? Never judge a book by its extremely daft cover, etc, etc.

Just when you thought it was safe to travel to America without hearing the sound of those (dated) down tuned guitars and not to mention the sight of those Nu-Metal freaks, Bach is back to hit you over the head with the sound of 1999. Party like there's no tomorrow and to the end of civilization? It's hardly modern or contemporary rock any longer since we've heard this sort of albums for the past 15-20 years or more. On the other hand. It's certainly not a poor effort or the crap album by the former Skid Row vocalist. Far from it actually. The more you spin, 'Give 'Em Hell', the hotter and better it gets (up to a certain point of course).

Pretty much all the songs were co-written by Bach and famed producer Bob Marlette. Billy Idol guitarist Steve Stevens wrote however "Push Away" and the track feature the weirdest vocal performance ever by Bach. Could someone please tell me what those borderline flat notes are all about? One thing's for sure, dogs are howling and running away in the opposite direction. The opening four tracks are good fun though and there's several of neat moments to be found within these walls of horror and terror. The vocals are constantly in-your-face and it's perhaps just too much in the long run. In fact, the April Wine cover, "Rock N Roll Is a Vicious Game", like a sweet cool breeze on a hot summer day and exactly what the doctor ordered. Nice but no cigar...

WINGER: "Better Days Comin"

Rating: RRRR
Label: Frontiers 2014
Review by: Urban "Wally" Wallstrom

Damned if you do - damned if you don't? Opening track and single, "Midnight Driver Of a Love Machine", harks back to the dated and cheesy sound of their debut and it's clearly not Winger at their best in 2014. It's got all the woh-ho's and tacky lyric in the vein of and I quote, 'She runs on sex and gasoline, she's a midnight driver of a love machine? Oh dear. What ever happened to the excellent music and progressive vibes of 'IV' or any other album beside their debut, the worst record in their ever growing back catalogue in my humble opinion. Okay. We're off to a really dodgy start, but things are about to improve and change to the better.

"Queen Babylon" is the fun prog-lite tune with remarkable harmonies and atmospheric keyboards by Cenk. The uptempo guitar attack track of "Rat Race" do remind me of Dokken somehow (Tooth and Nail?) and not too shabby, but still not Winger at their very best. However, the album takes off like a rocket to the sky with the groovy title track and the remaining six tracks. "Tin Soldier", mesmerizing keys/guitar riff and the uplifting refrain. "Ever Wonder", definitely Winger at their very best and its haunting melody gets you in the heart. "So Long China" atmospheric rock with a special nod to Mr. Peter Gabriel (bridge) and Pull. "Storm In Me" is the darker and excellent prog-vibe of IV and merely the hint of King's X.

"Be Who You Are Now", speak of the evolution, revolution, and that everything is always changing. Indeed, Kipper. Simply ignore the voice inside your head that screams "Seventeen" over and over again on the next album :) [and the bald and chubby middle-aged stalker fan outside your house for that matter]. Winger are at their best, right here, right now, in this very moment, (2014 not 1988), performing the slightly moody, atmospheric, proggy rock of numbers such as the excellent closing track, "Out Of This World".
www.wingertheband.com
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LOUD LION: ”Die Tough”

Rating: RRR
Label: MelodicRock Records 2014
Review by Kimmo Toivonen

As if Grand Design's two recent "budget Leppard" albums weren't enough... Loud Lion is taking it a step further - even the band's name is a tribute to Def Leppard. Mind you, the project's main man, producer/songwriter Bleu isn't even trying the sell this as anything else but a homage to DL: "Def Leppard hasn't put anything as good as Loud Lion out in at least a decade! If you like Pyromania and Hysteria (and f**k you if you don't) then you'll love this record - and that's not even taking into account the brain-liquidating shred-fests. An homage has never (ever) sounded so majestic!". Okay... if you say so.

I do like "Pyromania" and "Hysteria" as most of our readers do too, but whether we all will fall in love with "Die Tough" remains to be seen. I already know that I won't. Sure it is a fun record with some good songs, but it's still just a tribute. Despite the advances in recording technology, it's still quite impossible to emulate the larger-than-life sound of "Hysteria". This is a pretty good attempt though... good harmony vocals, fine Clark/Collen-inspired guitar work, not to mention very Joe Elliott-like lead vocals.

With only 9 tracks, the album is a bit on the short side, especially when two of the tracks are more or less "brain-liquidating shred-fests"... Out of the "real" songs, my absolute favourite is "The Hills Have Eyes" from the movie by the same name. It's as Leppard as the rest of the songs, but not quite as blatant a "re-write" as the others. Elsewhere you've got "Die Tuff" ("Love Bites"), "Lion Eyes" ("Photograph" maybe?), "Lion's Den" ("Women"), "Love Will Break Your Heart" ("Pour Some Sugar On Me") and "Sunset Strip" ("Rocket")... the "shred-fest" "None More Fast" with its' narration sounds to me like it escaped from a goofy musical like "Rock Of Ages"...

Fans of 80'ies Leppard will surely get a kick out listening to these tracks, although I'm sure that there's a grumpy fan or two somewhere out there thinking that this is blasphemy... but you can't please everyone.

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KING OF TROLLS: "The Cave"

Rating: RR
Label: MCM/Playground 2014
Review by: Urban "Wally" Wallstrom

Whatever possessed these guys to dress up/down as Trolls in the first place? Then again... one quick glance at singer Frode 'King' Anderssen and you know they couldn't have done it any other way. The perfect fit and hordes of other dark creatures such as goblin, ogre, Norwegian [No need to go berserk, please! it's just a lame joke] are quick to follow in the massive tracks of the King of Trolls.

You may or may not have heard about them from the Norwegian Melody Grand Prix in 2008. Indeed. They desperately tried to shock their homeland with a similar approach to the winning concept of Finland and Lordi. Norwegians are not easily impressed though and especially not considering the dark wave of Black Metal and church burning trolls in the past. It's the kid friendly version of Troll-Metal and the mix of 70's folk hard rock and overall melodic schlock is strange to the ears.

According to the press-release: you can hear influences from bands such as AC/DC, KISS, Deep Purple and Iron Maiden? I can't say that I agree with any of the above. Try the second rate version of the following acts instead and you're closer to the core: Focus, Thor, Uriah Heep, Wig Wam. Former Europe and Easy Action guitarist Kee Marcello is responsible for production as well as co-writing the 11 tracks. Clearly not his best work and the songs are plain naive at times.

Going through some of the weirdest moments and tracks. "Master Of The Game", Elvis Presley number of the early/mid 70's and Vegas only with more and heavier guitars. "Angeline", dansband song 'ala Norway and Sweden [sort of like U.S. Country only wimpier and less attractive] and something that should cause the average senior citizen of Scandinavia to get up on the dance floor and shake her money maker. I do enjoy the strange ska-lite beat of "Battle of Trolls". Ehem. Let's just say there's no need for Edvard Grieg and "Peer Gynt Suite - In the Hall of the Mountain King" fans to feel threaten, since it's still the best way to experience the Trolls of Norway. Hocus Pocus by Focus vs. weird folk-rock, not your ordinary skull crushing troll of the tale. Bränn, Bränn, Bränn. Var är Fjant? Här mamma....
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WELL HUNG HEART: "Go Forth and Multiply"

Rating: RRR
Label: WHH/Prescription 2014
Review by: Urban "Wally" Wallstrom

Neat. Noisy U.S. indie garage punk rockers met Joan Jett at their local.. ehem... garage? Recorded live in the studio in Southern California using minimal overdubs and direct to tape, more or less the very definition of the raw and uncompromising underground punk movement. They have plenty of cool riffs and not necessarily too many ideas, if you get my drift? At times very primal/primitive rock by the Well Hung Heart duo of vocalist Greta Valenti (Fuji Minx) and UK born blues guitarist Robin Davey.

The Davey dude started out jamming with the likes of Buddy Guy, recording with Mick Jagger (that's Rolling Stones), and touring the world as a member of The Hoax. In fact, according to the press he's the youngest ever inductee into the British Blues Hall Of Fame? Blimey. So what's he doing playing the indie punk sludge thing in sunny beach California US of A? They have excellent black pudding over there? Surely not.

"Go Forth and Multiply" do have a couple of sort of blues numbers (not quite though), but it's mostly 'heads-down in splatter-punk town' and the odd whiff of Garbage and cult heroes such as Pixies. The overall vibe on the record is mean, nasty, raw, grungy/garage-y, and Valenti likes to strut the vocals around like a fueled Wendy O'Williams (R.I.P.) in her Plasmatics heydays. Opening track as well as single, "Big Plans", go forth and multiply with everything from a bulldozer to your elephant and the main riff is like a violent kick to the head. Their rampant rowdiness in the studio is all well and good but they may just lack that special underground hit and instant sing-a-long. Entertaining, loud and nasty.
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THREE LIONS: "Three Lions"

Rating: RR
Label: Frontiers 2014
Review by: Urban "Wally" Wallstrom

The very first thing you'll notice about U.K.'s Three Lions and the opening track of 'Trouble In a Red Dress', the smashing fret work of Vinny Burns (Dare, Ten). It's the distinctive sound of the six-string bender and his singing guitar. Darn flashy, upfront in the mix, and probably inspired by Gary Moore? The other two Lions or if you prefer Pussycats? fellow ex-Ten/Dare drummer Greg Morgan and vocalist/bassist Nigel Bailey.

Hold the press and re-do the frontpage as the following statement may come as the complete surprise. Out of the blue? Ehem. certainly not! Their debut album, basically the watered-down version of Ten? also considering that Ten sounded like the watered down version of Dare (mega classic debut), this is extremely safe and mid-tempo. British meat and potato AOR for the average person including egg, bacon, bangers, black pudding, fish and chips. Dessert? Deep fried Mars-bars of course. Hardly anything new on this platter, merely the standard slop of leftover and over-cooked material, served cold and the lack of spice and special ingredient is prominent.

On the other hand, you can't go completely wrong here if you enjoy the clinical and sterile sound of any of dozen albums in the style of Ten's Gary Hughes (not to be confused with Glenn 'The Voice' Hughes). Nigel Bailey sings in a similar pitch and style and it's AOR inspired by listening to lack-lustre albums from U.K. artists such as Chris De Burgh and Moody Blues. My favorite tracks, the instrumental "Sicilian Kiss", and "Two Hearts Beats As One". The latter 80's Pop in disguise and I notice that producer Alessandro DelVecchio gets the co-writing credit.
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FREE SPIRIT: ”All the Shades of Darkened Light”

Rating: RRRR
Label: Carpel Music Oy 2014
Review by Kimmo Toivonen

Although this is only the second album from Free Spirit, the band has been slugging it out for over twenty years. I've heard some of their early work and it was quite different to what the stuff they are playing now. The band had a darker sound which reminded me of The Cult (their late eighties' era). A few years ago the band went through some line-up changes and fine-tuned their sound towards Melodic Hard Rock. Their first album "Pale Sister Of Light" got some rave reviews, but I wasn't blown away. With ”All the Shades of Darkened Light” I think they've taken another step further, and they're starting to compete with bands like Brother Firetribe and H.E.A.T.

Just like the aforementioned contemporaries, Free Spirit draws influences from the big commercial melodic rock bands like Bon Jovi and Def Leppard and especially their "vintage" stuff. You can easily spot "Hysterical" arrangements and production tricks or maybe a Bon Joviesque bassline. I can't blame them for that because just about every other melodic hard rock band on the planet does the same thing... maybe having a song called "Hysteria" is pushing it a bit too far, but damn if isn't one of my favourite tracks here!

Just about every one of the songs boasts a huge, anthemic chorus and I could imagine them transforming into big live favourites. Some of my personal picks would be "The Dew Of The Rose", "Fever" and "Ever Come True", but I can't really find a real filler among the eleven tracks.
Vocalist Sami Alho's vocals aren't exactly to my liking, he has a style that's slightly similar to that of Jakob Samuel of The Poodles or Leppard's Joe Elliott - a bit uncomfortable sounding at times, especially when most of the songs require him to sing in high register. With songs as strong as these it's easy to overlook, and really it's a question of personal taste (or the lack of it). Anyway, highly recommended and easily one of the better albums of this year so far.

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DEBORAH BONHAM - "Spirit"

RATING: RRR


Label: Spectra


Review By: Alan Holloway

Blessed (or cursed) with an instantly recognisable surname to any rock fan, Deborah Bonham has been recording music for twenty years now, although to be fair she hasn’t exactly been productive, with “Spirit” only her fourth solo album. What is evident to anyone who has seen her live is that prodigious or not, Deborah Bonham has a voice that encapsulates what blues rock is all about.

“Spirit” contains twelve new tracks, and flits between blues and country rock without really settling. Unsurprisingly, it’s the bluesy stuff that stands out best, such as the soulful opener “Fly”. Whilst the more country orientated tracks like “Take Me Down” are catchy enough they lack any real punch or passion. Bonham sounds great throughout, her vocals like honey in the ears, but I don’t get the sense of power from “Spirit” that I did when she supported FM a couple of years ago. In effect, this seems to be a rather watered down version of what I saw on that stage, with an undeniable talent but some forgettable songs.

What you have here is an easy listening album that is pleasant but uninspiring. The twelve tracks certainly don’t fly by, but when one jumps out at you it seems worth the wait. I suppose the most accurate thing I can say is that I like it, but not as much as I wanted to. 

Official Website 

DIESEL - "Into The Fire"

RATING: RRRR
Label: Escape Music
Review By: Alan Holloway

This one came out of the blue – a collaboration between, among others, Jim Kirkpatrick, FM’s guitar slinger, and ex Bad Company voice Robert Hart. Whether this will be a studio only event only time will tell, but trust me when I say that once you hear it you’ll be praying for some live shows.

The album starts off with a bit of a bang, as Kirkpatrick goes all Satriani in the aggressive and catchy “Love Under Cover”. At this points it’s obvious that Hart can still toe the line vocally, and expectations are well and truly set. “Into the Fire” follows, and is another fast paced track with a sweaty beat and greasy feel that definitely reminds me of the last FM album “Rockville”. This happens a lot, to be honest, as “Into the Fire” shares a lot with Jim’s other band (not least their lead singer, as Mr Overland provides backing vocals here). This isn’t to say that Diesel are indistinguishable from modern day FM, but I have to admit that if you like “Rockville” you will absolutely love “Into the Fire”.

Throughout the album there’s a very heavy blues influence, which is expected with these two at the helm, but this isn’t old school, sittin’ on a porch blues – this is modern, heavy handed stuff. “Fortune Favours The Brave”, for example, has a monster riff, yet like many other tracks it mixes it with a great, catchy chorus. Perhaps the best singalong track is “Brand New Day”, which has a chorus right out of the Big Book Of AOR, accompanies by a neat little guitar flick that begs to be played in an open top sports car on a hot summer day. It's not the only one, with stuff like "What Is Love" and "Let's Take The Long Way Home" equally guilty of being too catchy for their own good.

In essence, “Into The Fire” mixes heavy, melodic blues, AOR with catchy choruses and the sort of old school vibe that Heaven & Earth did so very well on last year’s “Dig” album. Both Kirkpatrick and Hart put in sterling performances, and there’s some truly memorable tracks scattered throughout. Certainly not just another run of the mill team up, Diesel have come straight in at the top with an album that encompasses all that is great about British rock. Go get it.

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Michael BOLTON: "Ain't No Mountain High Enough - A Tribute To Hitsville USA"

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

...Ain't no valley low enough, ain't no river wide enough, to keep Michael 'Pale as death' Bolton from getting to you with his latest album, a tribute to Hitsville U.S.A. or if you prefer Motown. It's the 2014 Euro release of the U.S. comp and I noticed that trolls of the internet complain about Bolton acting black? So what if he can't get enough of the Motown or that he's jewish and pale as the grim reaper? deal with it or leave this space. It's never a question of skin or religion for that matter. Acting black? ALL modern music in the last 100+ years. Blues, R&B, Jazz, Soul, Pop, Rock, Rap, etc. The heritage of black musicians and songwriters. Black Metal on the other hand, that's all white, and the worst shite genre of them all. Geez...

I've recently discovered that I'm the major fan of 70's Soul/Motown and the albums of Al Green, Marvin Gaye, Harold Melvin (and the Blue Notes), Curtis Mayfield, Withers, Bland, etc. Perhaps not as much the 60's stuff, but you can't completely ignore the classic Motown. Never managed to stomach the music of Stevie Wonder though. People keep saying he's great? But I find the majority of the compositions to be sort of juvenile and cheesy/corny somehow? It certainly doesn't help when the only song you ever heard as a kid - "I Just Called To Say I Love You". The horror, the horror. Bolton does however, "Signed, Sealed, Delivered", and that's Wonder's personal best in my opinion.

"You Keep Me Hanging On", yet another distant memory as we first heard the song by Kim Wilde. Oh, shut up. Her version became the #1 hit in the states and we didn't know any better or other. Bolton tear down the 60's song and Supremes with a huff and a puff like a train in the night, like a train in the night (My Lovely Horse? by Fr. Ted Crilly and Fr. Dougal McGuire?). Simply ignore the latter remark. "What's Going On", gets the easy listening treatment by Bolton and it's not far fetched to think of it as the Simon Cowell approved version of the classic MG tune. As long as the songwriters get their royalties (which they didn't always back in the days), who gives a damn about who covers whom? Mikey cut two R&B albums in the mid seventies before turing into the AOR singer in the eighties and releasing the self-titled album in 1983 and Everybody's Crazy in 85. Oy Vey. "Sittin' on The Dock of the Bay", made him every hausfraus' favorite pet object and he never looked back.

The bottomline. There's simply not enough of 70's Motown on this record and why bother when you have the originals? The digipack 2CD version of the album comes with the greatest hits disc.

PRETTY MAIDS: "Louder Than Ever" [CD+DVD]

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

Hear the cry from label's past - downloading is killing our music industry. Here's a couple of more things to add to the long list of dodgy business. Releasing five different issues or the special edition of each and every album or like the Pretty Maids, re-recording old songs from your back catalogue. What's the point? Some of the artists are obviously doing this to avoid legal problems and ownership. It's not extremely difficult to get hold of the Maids' material from the years inbetween 1995 to 2006.

In my opinion. Songs are memories and statements specially written by a band/artist at a particular time of their career. You're not meant to re-record stuff or take advantage of new technology since it's just plain wrong. It's sort of like art (like it or not) and speaking of Pretty Maids, don't mess with Mona Lisa? These songs are hardly perfect or the work of genius. Far from it. I'm merely trying to say, let the past be the past. People have special needs for their memories to certain songs or albums. Are some re-recordings better than others? Well. Perhaps if you have the new vocalist onboard? By the way. New tech, not always the same as the improved sound, since it's all down to the quality of the engineer and his ears. The old desk, vintage microphones, the know how to pair the right microphone with the right instrument etc. the key to any good production.

Ehem. Let's move on to the good stuff about 'Louder Than Ever'. Four new songs and opener, 'Deranged', exactly what the title may suggest. Raspy vocals by Atkins, hard hitting riff, dodgy metal refrain? The standard throw-away rocker and definitely meat and potato stuff. Lyrically, the story of a mad gun man and violent to the extreme. 'My Soul To Take', the melodic tune with a catchy hook. 'Nuclear Boomerang', yet another straight a-head rocker with plenty of balls. The cracking ballad of 'A Heart Without A Home', the sad little sob story about loneliness and never finding your place in time or space. Overall the neat 4-track EP plus 8 re-recordings of the past.

The DVD? Basically the 40+ minute roadmovie 'Why So Serious' - the unveiled story that will show you how it is to be on tour with the geezers. Backstage banter, various nonsense, jokes, more nonsense, balloons, behind the scene stuff, pre-show warm up and singing ABBA (Dancing Queen) and Bee Gees (How Deep Is Your Love) while in Japan. Ronnie is spot on with the phrasing and nasal sound of what's his name again? the surviving member of Gees', Maurice? No idea. Do the google if needed. Atkins is more or less Denmark's version of Biff Byford and the natural leader of the gang. The interviews are short, direct, and mostly about tour memories (the good old days and Monsters of Rock 1987), killing time on the bus, no privacy, been there, done that, we're all like a family, etc. Major shock value of the DVD - Morten Sandager (keyboards) playing Italo disco and Sabrina's old hit, 'Boys, Boys, Boys'. Ehem. Yeah. We sure do recall the lady and her big pair of... lungs. What's more? The odd 1990 clip and more recently from Wacken. The day out in Germany and driving the Tank (Tiger). Also the voice of producer Jakob Hansen and why they decided to d-tune the guitars on the re-recorded stuff. Sound quality may differ a lot and the lack of subtitles may not suggest the perfect roadmovie. It's all fun and giggles though and sadly not a pretty maid in sight (merely five ugly geezers).
http://www.prettymaids.dk/

L.R.S.: "Down To the Core"

Rating: RRRR
Label: Frontiers 2014
Review by: Urban "Wally" Wallstrom

First of all. The moniker of L.R.S.? The first letter from each project members surname and perhaps not the best of decision? But seriously, who cares as long as the music is any good. The L stands however for vocalist Tommy LaVerdi (21 Guns) finally back in the recording studio doing the melodic rock after many years in Norway? and God knows what really. It's been too long since the excellent "Salute" album in 1992.

The voice intact even if there's too many Steve Perry moves and not enough LaVerdi on a couple of tracks and especially the unshameful clone of 'Never Surrender. Poor man's Journey and very cliché-like. The last thing you need is Laverdi doing Perry, since he's actually blessed with his own unique voice and style. Hardly something you'd throw in the bin as yesterday's news. The R stands for guitarist Josh Ramos (The Storm, Le Mans, Two Fires, Hardline) and make sure to check out the excellent guitar work and tone on the record. At times Neil Schon-like, but we knew this from previous records, yeah? Finally, the S - drummer Michael Shotton (Von Groove, Airplay) and his playing is definitely a notch or three above the normal Frontiers release and the same goes for the production.

The material? Overall mid-tempo AOR and slower tracks actually and do not expect to find more than one or two uptempo rockers. Alessandro Del Vecchio is the man responsible for production, keyboards as well as writing the majority of the tracks. However, Shotton is the real winner and songsmith supreme with ultra smooth AOR numbers such as "I Can Take You There" and the unbelievable classy and glossy "Universal Cry". Christ oh mighty. The stuff soft-rock dreams are made of. Let Shotton have a go at writing the bulk of the songs for the next LaVerdi album. Such a vast quality gap between this and the second rate Journey of Never Surrender.

Let's get down to the core. Remove a couple of the worst Journey and you'd still end up with a very enjoyable album. I do enjoy the smooth, slick numbers of "Livin' 4 a Dream", "Almost Over You", "Shadow of a Man", "I Will Find a Way", "To Be Your Man". Welcome back LaVerdi. Top notch stuff from the very first note to the last. Simply ignore the Perry tracks next time and go for 5 R's. By the way. The years in Norway may have rubbed off as I notice the mere hint of Morten Harket? A-HA?

DEEP PURPLE: "Live in Stockholm 1970"

Rating: Live
Label: earMUSIC/Edel 2014
Review by: Urban "Wally" Wallstrom

Improvisations are either boring as hell or simply magical, depending on whom you ask really. Hence the immortal words of Monty Phyton: Jam, Jam, Jam, Jam, Jam, Jam, Jam. It's Spam actually, but you get the idea. The latest in the long line of re-releases of the official Deep Purple (Overseas) live series by earMUSIC/Edel: Live in Stockholm 1970. Also recognized by long time fans of the band as, 'Scandinavian Nights', the unofficial vinyl version does not feature all the tracks in correct running order though.

It's raw, loud, energetic, basically jam-versions of songs such as 'Speed King', 'Child In Time', 'Wring That Neck'. The latter almost half-an-hour on my watch and the same goes for 'Mandrake Root', the early and very groovy Purple track as well as the Rod Evans co-write (Purple's original singer on the first three albums). The song goes through several different stages of hallucinogenic rock and it's no wonder considering the magical use of the darn plant (Mandrake Root).

Nontheless. I'm starting to feel mighty restless towards the 20 minute mark and the songs could and should easily have been cut down to no more than 12-14 minutes really. Sure. It's the nice soloing and improvs by Blackmore and Lord (R.I.P.), but it's just too darn long and hippie in my humble opinion. It's however nice to hear The Rolling Stones' 'Paint It Black' done by Purple. Bonus CD tracks are: Wring That Neck, Mandrake Roots (again) - live from Paris the same year and the Jon Lord interview. Merely 9 tracks on 2 CDs! The bonus DVD is the 25 minute long, digitally remastered version of the original VHS tape, 'Doing Their Thing - Live at Granada TV 1970'. If extended jams and hardly any plot is your kind of bag. Personally? I prefer the studio versions and the basic, strict formula.

Anette OLZON: "Shine"

Rating: RRRR
Label: earMUSIC 2014
Review by: Urban "Wally" Wallstrom

Ethno Pop Rock (hardly Metal though?) with the symphonic touch?? File this under outside the box and different as the former Alyson Avenue and Nightwish singer goes the full circle and beyond with her first solo album. Regarding the Ethno part of the album, obviously not the entire time, however, tiny fragments, bits and pieces. For instance, a track like 'Floating', basically the 50/50 mix of Kate Bush and Enya influences and I do enjoy its 'magical-forest' flow and the atmospheric, dreamy sound.

"Lies", the sweet, innocence, Swedish melodies of Tone Norum, Iza, One More Time (cult act feat. the son of ABBA) only this kitten got claws. "Invincible", the odd Mike Oldfield during his 'Maggie' era and possibly the distant cousin to the Eurovision Song Contest winner of 2011, 'Running Scared'. The latter not too strange all considering. Olzon's main co-songwriter on the album (Stefan Örn) wrote the Euro winner after all. I do recall listening to the original Alyson Avenue demos [yours truly wrote and raved about them back in the days] thinking that Anette Olzon (Blyckert) takes a lot from pop, Eurovision (and dansband for that matter :)

"Falling", Nightwish-lite with plenty of string orchestration. "Moving Away", the territorial work of Blackmore's Night. To be perfectly honest. The two closing tracks, "One Million Faces" and "Watching From A Far", could just as easily have been straight off the latest albums by Agnetha Fältskog (ABBA). Both are extremely mellow ballads and if you came here looking for loud guitars and screaming metal? simply look elsewhere or preferably the other way. It's rather 'posh' than 'mosh' and the glossy and overall soft effort may not please the narrow-minded listener?
www.anette-olzon.com
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GAMMA RAY: "Empire Of The Undead"

Rating: RRRR
Label: earMUSIC 2014
Review by: Urban "Wally" Wallstrom

Wow! The fire in the Hammer studios (R.I.P.) couldn't stop Gamma Ray from recording their best album in ages. I constantly find myself shouting along at the top of my lungs to the melodies and even though several tracks are epic (like the nine minute long opener 'Avalon'), the overall feeling of 'Empire of The Unded' is still the one of proper metal and back to basic material.

It's almost like if they've stopped writing songs that may attract all kind of folks and gone back to the heydays of denim and leather which obviously include the fine signatures of old masters such as Judas Priest and Iron Maiden. The voice of Kai Hansen is more on the money, focused, and basically better sounding than previous effort and the production bring out the best of the musicians.

'Hellbent' will have you thinking about Priest for obvious reason and the verse/pre-chorus of 'Born To Fly' may just channel the feeling of 'Electric Eye'. The chorus part on the other hand is very different and harks back to Gamma Ray's earlier sound. The title track is the real monster track (as you may already have heard since it's been out there for months) with its speedy uptempo arrangement and cheeky pre-chorus ála Maiden and Ace's High. 'Time For Deliverance', the nice breather and ballad with an Queen-like chorus and the uber sing-a-long anthem.

The deluxe version with its bonus DVD feature the 58 minute long intoduction to the band including live outtakes from the final studio sessions of the 'Empire'. The tour of Hamburg and various other goodies such as interviews and three clips from the Skeletons & Majesties live DVD. The bottomline, 'Empire Of The Undead' is an album that will surely please the traditional metal head as you have everything from NWOBH (Raven, Priest, Maiden) to the teutonic tradition of Gamma Ray, Accept, Helloween. Gamma Ray have shown that this type of music can be creative as well as the great throwback to metal past.
www.gammaray.org
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STEEL PANTHER: "All You Can Eat"

Rating: R
Label: Open E/Kobalt 2014
Review by: Urban "Wally" Wallstrom

I can't help to draw comparison to Holloway's review of Phil Vincent and the cover of 'Slave To Sin'. Yeah, I believe it's possible to ignore the ill advised artwork and merely look at the actual bodywork (since we're all about the music). But what to do when you have lyric and songs that are so... what's the word? Juvenile? Redundant? Wasteful? That you simply can't bare yourself to ever play them again?

I actually feel sorry for the Steel Panthers as they're clueless about the meaning of irony and the correct use of the word (now, that's irony people). They're a one trick pony. The comedian without a single proper joke. I'm not offended or upset by 'All You Can Eat'. I'm gobsmacked over the poor state of the lyrics and the fact that America still believe nudity and four letter words to be major shock value? Nipplegate anyone? It's 2014 for feck's sake. The kids are all brought up with internet connection, you can't shock them anywhere, with anything, anymore. Why any person could find tracks such as 'Pussywhipped', 'Gloryhole', Bukkake Tears', 'Gangbang at The Old Folks Home', F**ing My Heart In The Azz', etc. to be funny goes over my head. Hard rock parodists in desperate need of jokes?

It's not a question of moral or religious tosser belief. I'm not trying to force people into not buying the music or boycott the band. It's just not a good product in my opinion and the songs (if you try and look past the lyric) are slightly below average at their best. If you wish to wake up or shock the nation? Try writing about your homeland and the way your gov. treat the millions of poor, the homeless, the washed up soldier from any of many wasteful wars, the sick, the needy, etc. Remember that 'a country is only as strong as your weakest citizen', and you may quote me on that. Let me just end it all with a quote from the good people at Extreme, (still) waiting for the punchline... sad clown face...

NACOM: ”Crawling Human Souls”

Rating: G
Label: WormHole Death 2014
Review by Kimmo Toivonen

It didn't look that bad. Sure, the album artwork is quite bleak and depressing and the album title doesn't exactly shout "an uplifting musical experience ahead", but at least the band's logo wasn't completely unintelligible in the usual death metal style. I still couldn't figure out the band's name, but only because of the sci-fi styled, strange font. "hmm... could be some sort of hi-tech prog metal" was my initial thought. And then I inserted the cd to the player.

I just don't get it. Over the years, we've recieved dozens of death/extreme metal CD's, yet I don't think we've given any of them good ratings. Still, just about every day we get a request to download the latest CoreMetalDeathBlack sensation... and we ignore them, because it's not our thing at all. But when someone actually sends us a CD, we feel obligated to at least give it a spin. To be honest, most of the completely unsuitable albums will not be reviewed, but now I'm making an exception... I don't know why, but what the hell.

If I didn't know better, I'd say that the band has two singers. One of the could be called a mutant called Gorgorlogoo and the other Phyllis, the wicked witch. Gorgorlogoo has a low, growling voice while Phyllis sounds like, well, the wicked witch, a 175-year old woman with a serious chip on her shoulders. In fact, Gorgorlogoo and Phyllis are apparently one person, the band's uniquely talented vocalist Leonardo Corinadesi. Whether he can also sing cannot be determined by listening to this album. He sure can growl and do the cookie monster thing, so he is talented, no doubt about it. This particular style of vocalizing isn't something I understand, so let's move on to other things... Musically the band is highly competent. The rhythm section does all kinds of complicated things, while the guitarists throw in tons of tricky riffs and solos. There's a fair amount of moody keyboards too. As the instrumental "Echoes Of Void" proves, the band is capable of creating moody and even beautiful music, but it's only a one-off. The songs with vocals may have some interesting things going on in the background, but the growling, screaming and hissing pretty much overshadows them.

The lyrics are in the booklet, which is a good thing because you wouldn't be able to figure out them otherwise. The Phyllis-vocals are somewhat better in that aspect, but Gorgorlogoo-vocals could just as well be all gibberish.

The rating? "G". As in Gorgorlogoo.

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THE MILESTONES - "Higher Mountain - Closer Sun"

RATING: RRRR

Label:

Review By: Alan Holloway

Twenty years and four albums certainly doesn’t seem like a lot, but with this their second in only five years it seems Finland’s The Milestones may be ready for their version of a sprint.

Taking the view that if it ain’t broke don’t fix it. The Milestones have once again delivered a highly competent package or old school rock and roll with a healthy dose of whiskey fuelled southern rock, like The Rolling Stones colliding with Black Stone Cherry, whilst being watched by the Robert Hart era Bad Company. Yes, this has some serious blues vibes, with licks that could strip paint from the walls.

Despite coming from Finland, there are no awkward accent moments, with Olavi Tikka showing fine form throughout, although it certainly helps that he’s backed by a band that are tighter than Scrooge McDuck’s wallet. Opener “Walking Trouble” belts along at quite a pace, enlivened by some excellent guitar and harmonica playing, and from then on the quality pretty much stays the same, as the listener is washed over by a tidal wave of bluesy lushness that would make The Black Crowes proud.

If driving blues rock is your thing, lighter than the likes of BlackWolf but still entrenched in the same roots, The Milestones are certainly going to be right up your street. 

Official Site 

ALIEN: ”Eternity”

Rating: RRRR
Label: AOR Heaven 2014
Review by Kimmo Toivonen

The first Alien album (self-titled, 1988) is considered an AOR classic. It included their version of The Marbles' "Only One Woman" which was a number one hit in Sweden, not to mention several very popular songs. The band's career took a bit of a nosedive after that album, with several line-up changes and albums of lesser quality. A few years ago the original line-up made a triumphant comeback at Firefest, followed by another highly praised performance at the festival last year. Their recorded output after the comeback has been limited to one single only, the rather fine "Ready To Fly", but this is about to change as "Eternity" will see the light of day on 25th April.

Has it been worth the wait? Is it as AOR-styled as the debut? Is Jim Jidhed still the vocal god he once was? These are some of the questions you might have, and I believe my answer to all of those is "Yes!". This is easily the band's best album since the debut and it is very much in similar style. Fine melodies, soaring choruses and Jim Jidhed is in fine form. If anything, his voice has improved like fine wine, the years have brought some nice edge to it. Tony Borg's guitar work is highly melodic and Toby Tarrach's keyboards are upfront in many of these songs, and overall the sound of the album is really smooth and pleasant.

Let's take a look at some of the highlights... The track first heard at last year's Firefest, "In Love We Trust" is a suitable opener for the album. It went down really well live and it's an AOR gem on the album too. "Love Will Lead Me Home" has some familiar-sounding melodies, maybe some echoes of Cutting Crew's "(I Just) Died In Your Arms", but despite or maybe because of that, the song is one of the most instant "hits" of the album. "I Believe" is a classy ballad and with Mr. Jidhed behind the microphone it's elevated to another level. The slightly heavier "What Goes Up" rides on a persistent keyboard riff and oddly enough, I keep thinking that this song wouldn't have sounded out of place on Europe's "Out Of This World". "Wild Heart" and especially "Liar, Liar" are both fine uptempo tracks with strong choruses. Then there are the bright'n breezy "summer AOR" songs "Unbroken" and "Summer Of Love", very enjoyable too... Interestingly, "I'm A Fighter", the one song written by Pam Barlow and Janet Morrison Minto who co-wrote much of the first album, is one of the more "ordinary" tracks of the album... It just goes to show that the band is very much capable of coming up with future AOR classics on their own!

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SUNSTRIKE - "Rock Your World"

RATING: RRRRr
Label: AOR Heaven
Review By: Alan Holloway

Sweden has graces us with many, many sweet AOR tunes, so it’s no surprise to find yet another new band trundling through the heavenly gates to simply astonish with their debut album. Formed by the guitarist and drummer from the more metal Astral Doors, Sunstrike are more than a side project, with “Rock Your World” coming fully formed and full of form.

What immediately grabs you is the sheer joyfulness contained within the album. This is AOR from people who realize that it’s supposed to be happy, upbeat music. Vocalist Christian Hedgren (Twilight Force) is a revelation, his voice fitting the music perfectly, and the music is as full of beans as a Mexican meeting of overeaters anonymous.

With a title like “Rock Your World”, it’s no surprise that the album contains nothing at all new. That said, however, it takes traditional European melodic rock and plays it like a virtuoso on an old violin. There’s hints of TNT, Europe and newer bands like Eclipse here (it was produced by Erik from said band), with every track coming across well. There are no weak links, no ballads, and no outstaying it’s welcome at twelve tracks long. “Power Of Dreams” and the title track kick things off like a barrel full of gunpowder, and things don’t let up until the last but one track “Edge Of Life”, which is the only track with a whiff of half heartedness about it.

Make no mistake, this is old school AOR, with proud keyboards, drums and guitars harmoniously sharing the spotlight throughout. There have been many bands who have done similar stuff and wandered off into the night, forgotten by many (The Shock, anyone?), but for those who have heard their music it will always live on. “Rock Your World” has tracks that you will still want to hear a decade from now, beautifully put together with plenty of fire and fury. It’s time to party like it’s 1989, people, but in a good way.

Band Facebook Page 

PHIL VINCENT – “Slave To Sin”

RATING: RRRr
Label: Self Release
Reviewed By: Alan Holloway

Before you do anything else, get over the cover. Yes, it’s possibly the most horrendously ill advised and tackily presented misogynistic mess, but if you get over it you can start to listen to what is a pretty good album. There’s probably irony intended (or at least I hope so) but as well know, most Americans tend to think irony is similar to goldy, bronzey and leady. Mind you, the lad hardly has a good track record, cover-wise.

Anyway, once the cover has been sufficiently burned it’s time to have a listen to the latest offering from one man band (at least when he’s not with Legion) Phil Vincent. Phil’s output is legendary, the biggest achievement being the constant high quality of his many, many releases. It has to be said that Phil has yet to make me swoon over a release, but I always enjoy them.

‘Slave To Sin’ takes his usual formula and actually tries a few new things out, not least the closing 4 in 1 track ‘Harmonic Destruction’. Fourteen minutes and four parts offer a lengthy but worthy experience nicely removed from the four minute forages that we usually get. Elsewhere there’s some good, heavy stuff that nonetheless contains enough melody to appeal to all sorts of rock lovers. The opening riff and words to ‘Bad Girl’ are shamelessly nicked from “Whole Lotta Rosie”, but the rest of the song is a spirited romp that avoids any other plagiarism. Special mention must go to “Mystery”, which miraculously manages to not outstay it’s welcome despite a run time of nearly seven minutes. It contains some of Phil’s best singing of the album, as well as some very slick guitar (possibly from guest Vince O’Reagan).

So what he have here is an ugly girl with a really nice personality. Phil Vincent dares to take a few musical risks on ‘Slave To Sin’ and they all pay off pretty well. Hard edged and melodic, it certainly holds up against his other solo stuff, so if you are a fan there’s no reason to shy away from this one. Except the cover, obviously. 

www.philvincent.com/ 

YouTube link for "Take me Back" 

Beth HART & Joe BONAMASSA: "Live In Amsterdam"

Rating: Live
Label: Provogue/Mascot 2014
Review by: Urban "Wally" Wallstrom

It's 2014! What's the point in releasing live albums without the glossy DVD/Blu-ray? Hang on a minute. Appearantly, there's the DVD release of Beth Hart and Joe Bonamassa destroying Amsterdam only we're stuck with the daft CD version? What's the point in merely sending out your minor product for review when everybody's talking about and would like to know more about the major dvd and blu-ray production? It's sort of like sending the film/movie production on tape so you can listen to the actors and simply forget about ever watching the she-bang.

The two are obviously going at the music with bags of finess and individual skill. Beth Hart is capable of singing the old R&B numbers with remarkable awareness of tradition and overall respect. If there's ever been a cool cat, simply check out her performances on 'For My Friends' and especially 'Close To My Fire'. Joe Bonamassa's flashy guitar work add a new dimension to the old numbers of Buddy Miles, Billie Holiday, Melody Gardot, Etta James, Tom Waits, and what not really. The 'Can't Let You Go' solo is sweet as candy. He's never trying to over play things or shred just for the cause of shredding. It's classy work throughout the set.

Yes, they're into old skool. It's just a straight forward tribute to the old masters and sometimes that's all you want from a band or in this case the dynamic duo. There's obviously a band too and it's nice to hear (well, I can't bloody watch, can I?) the old Spider and Ace Frehley drummer Anton Fig which many of you probably know from the David Letterman show. Not sure if it's just my promo or if all tracks are fade outs? If the latter, there's another shocker. If you came here looking for info about the dvd/blu-ray - tough luck and remember to email me if you ever find out. Bloody'ell...

DYNAZTY: "Renatus"

Rating: RRR
Label: Spinefarm 2014
Review by: Urban "Wally" Wallstrom

The full on transformation from Sleazy Melodic Rock to the rather typical (Symphonic/Melodic) Power Metal act is quite shocking at first to say the least. Did it have anything to do with their brand new recording deal at Spinefarm? Of course it did? The complete sell-out? Let's not go that far as I'm sure they all have their spines intact? But you can simply wave goodbye to the old Swedish Dynazty since it's sooo dated and dead. Say hello to the reborn version of the band and the next Dynazty that will surely last a thousand years or at least as long as it's more beneficial to play the "German" style of Metal (not to be confused with the U.S. brand).

It's soaring vocals by the impressive Nils Molin (Hello Brother Dragonfire), staccato riffing, schizo prog-lite keyboards (think Jens Johansson on LSD and stuck in the docklands), and uptempo arrangements in the style of Scanner goes on a date with Amaranthe. Musically and sonically a very different band and they'll be heading out on tour in April with Gamma Ray and Rhapsody of Fire.

They deliver a well paced blend of flashy guitar work and energy, as well as having the ability to create decent enough songs from some of the most bog standard sounding German met Swedish templates of body work as of lately. They were never 'originals' in the first place and the switch to different style and genre did not change any of that. At times just overblown and mediocre and every now and then sheer brilliant. The production is huge and those soaring vocals by Molin is something they're clearly not afraid to bring to the fore. Solid effort only perhaps not enough of hooks as they're all pretty nince, but hardly killer material.

NOW OR NEVER: "Now Or Never"

Rating: RR
Label: Mausoleum 2014
Review by: Urban "Wally" Wallstrom

Now Or Never? probably the latter if you twist my arm and urge the reviewer to choose. Former Pretty Maids and butt ugly geezers are singing the blues on their modern power metal album which include utterly heavy riffing and the occassional sampling and sound effect. They are no doubt the talanted bunch of musicians and the opening track of "Reach Out For The Sky" will clearly get your blood rushing in no time.

It's proper 'Painkiller' and especially Rob Halford (the solo albums) metal with clearly over the top vocals by Nightmare shouter Joe Amore. It's bleedin' 'No Amore' in the long run as you'll end up with bleedin gums just by listening to the grunts. As melodic power thrashers go, they're not half bad and "Wind Of Freedom" is the great modern power metal tune with frenzied drumming and the sheer amount of energy.

The chug-chug attack and semi shredding riffs are kind of 'been there, done that'. For instance, "Brothers", sound exactly like the first Rob Halford solo album which in all honesty had most folks running back to the record store and claiming their money in return. The industrial touch makes it all very 1995 and if that's your bag, good for you. "Hardened Steel" is more of the same, metal ála mid-nineties and the dusty old sound effect takes no prisoners whatsoever. There are a couple of true metal tracks with proper fist pumping choruses. However, overall? Meh. Pick of the bunch. "An Angel By My Side" - the excellent semi-ballad and the nice change from the chug-chug. Have a go at this if you can't get enough of Halford.

FACTOR HATE: "The Watcher"

Rating: RRRR
Label: Factor Hate / Rock'n'Growl 2014
Review by Rich Dillon

Factor Hate is a rather odd name for a band I thought as I received this EP for review. It immediately makes me think of “screaming devil chainsaw music” as my mother likes to call it, expecting something death metal like! I was pleasantly surprised when I cued it up for a listen.

The EP, entitled The Watcher, contains only four tracks was issued back in October 2013. Interestingly this EP was limited to only 100 hand numbered copies, recorded in their home studio and released independently by the band. A full length, 12 track CD is planned by Rock ‘n’ Growl Promotions for release in 2014.

“You’re in the Nightmare” blazes the trail exhibiting some thrashy overtones, but it is the second composition that really grabbed my attention with “Raise Your Hands” and its catchy chorus. “Wild as the Wind” starts out with a grinding riff and truly shines throughout. The Watcher closes out with the title track, “The Watcher”, leaving you wanting more and I look forward to the future efforts from Factor Hate.

Forming in France, Factor Hate consists of drummer Pascal “Sharky” Landais, guitarists Olivier “Silver” Landais and Hubert “Hubb” Treynel, bassist Kevin “Kev” Obron and last to join the group was vocalist Thierry “The Watcher” Grumiaux. The band cites influences like Accept and Judas Priest which are easily heard shining through on this altogether too short offering of old school sounding heavy metal. I will certainly be monitoring this band in hopes that they will soon release that rumoured full length debut.
"You're In The Nightmare" video

THE TREATMENT: "Running With The Dogs"

Rating: RRR
Label: Spinefarm Records 2014
Review by Rich Dillon

The UK’s The Treatment issued their sophomore effort earlier in February, Running With the Dogs as a two CD deluxe edition. The first disc contains thirteen new tracks while the second is comprised of cover versions of some of the bands that have heavily influenced The Treatment.

Rarely, if ever does the sequel compare to the original (with the exception of The Empire Strikes Back) and that is certainly the case with this album. There are some points that do the debut proud, like “I Bleed Rock & Roll”, “Don’t Look Down”, “Drop Like A Stone” and “Don’t Get Mad Get Evil” but just not quite on the same level as the compositions on the initial offering. The whole album seems to be lacking the swagger and pompous energy of youth that the This Might Hurt record exuded. “Outlaw” is undoubtedly the top of the heap here while “Get the Party On” and “World On Fire” are familiar as they were played on tour with Motley Crue/KISS in 2012. Tracks like “She’s Too Much” and “Emergency” are mediocre filler and easily forgettable. “Cloud Across the Sun” tries to sound like the Beatles, but falls desperately short of the mark and the ballad “Unchain the World” is not much more than a deplorable tragedy. The Treatment should stop trying to show their tenderness and get back to the balls out, wild untamed rock that served them so well on the initial release.

CD #2 contains a nod to some of the influences on the band with The Who’s “The Seeker”, Dr. Feelgood’s “She Does It Right”, Badfinger’s “No Matter What” and Status Quo’s “In My Chair”. The final two tracks of the six song bonus CD are acoustic versions of “Running with the Dogs” and I Bleed Rock & Roll”

If The Treatment had instead made one album containing ten or eleven tracks comprised of the best of both of these CD’s it might have fared as a better listen. Not bad overall, but for your first foray into The Treatment I recommend that you stick with This Might Hurt.
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PERSUADER: "The Fiction Maze"

Rating: RR
Label: Inner Wound Recordings 2014
Review by Rich Dillon

Persuader, a power metal band born in Umea Sweden in 1997, has just returned with their fourth outing, The Fiction Maze. Their first effort arrived in 2000 ala The Hunter, 2004 saw Evolution Purgatory and 2006 supplied When Eden Burns.

Given that the Fiction Maze album appears a staggering eight years after their previous release (who do they think they are, Boston?) I would expect something magnificent for my first foray into Persuader. Alas that was not to be; maybe I just don’t fully understand it. When hearing the term power metal, it’s hard for me not to immediately think of pioneers Helloween and hold bands to that standard.

While Persuader are obviously competent with their instruments and the album was not totally awful, overall I found it hard to listen to and sluggish despite the speed of the music. There is also a heavy element of thrash prominent throughout and vocal growling from time to time coupled with the technicality of the compositions. The riffs are abundant, but seem to get lost in the background, overshadowed by the vocals and the album just seems to drone on in general. I mean no disrespect to the band, who are obviously more talented than I, but I personally just didn’t prefer listening to The Fiction Maze.
Website

GOTTHARD: "Bang"

Rating: RRR
Label: G Records / PIAS
Review by Martien Koolen

The Swiss rock band Gotthard have already released 14 studio and live albums and have been around in the music scene for more than 20 years. Their previous album Firebirth started the second career of the Swiss rockers as the first one had been ended by the disastrous death of former lead singer Steve Lee. The new singer Nic Maeder became the new vocalist in 2011 and Bang is his second Gotthard album on which he shines as the singer of the band.

The new album contains 13 tracks and most of them (Get Up 'N Move On, Jump The Gun or My Belief) are classic Gotthard tunes demonstrating the band's talent for combining melodic vocals with catchy and strong guitar hooks and riffs. You can also hear some new "adventures" of Gotthard, take for example the excellent bluesrocker Spread Your Wings, featuring great vocals and marvellous guitar solos, or the hard rock driven What You Get, which will turn out to become a great live track. Another surprise is the longest Gotthard song ever called Thank You, which is a orchestral epic track filled with great melodies, superb vocals and a fantastic long guitar solo at the end. The song was written as a tribute to the deceased mother of guitar player Leo Leoni and it also serves as a homage to mothers all over the world.

Unfortunately the new album also contains two complete missers; first of all there is the utterly boring C'est La Vie, featuring a French title and even some accordeon. And secondly you have to skip the bittersweet ballad Maybe, which is a duet between Nic and the American female singer Melody Tibbits; this song really is a drag and is not fit for this rockin' album. My favourites are: Spread Your Wings (one of the best Gotthard songs ever), Jump The Gun (heavy with as melodic groove and a spicy guitar solo) and What You Get, which is a typical Gotthard groover, very catchy indeed. So, all in all, I am quite content with this new album, it rocks, it grooves and it swings, except for the two missers.
Website

Stan BUSH: ”The Ultimate”

Rating: RRRR
Label: MelodicRock Records 2014
Review by Kimmo Toivonen

AOR cult hero Stan Bush returns with an album that he calls "The Ultimate". A big title to live up to and while I don't think it's necessarily "the ultimate Stan Bush album", it's certainly very good. Sure it's AOR by numbers, but I happen to like these numbers! Most of the songs have a very strong "80'ies Action Movie Soundtrack"-vibe, the lyrics are uplifting and empowering and the choruses are the kind of stuff that one will HAVE to sing with fists clenched. In addition to the power rockers, of course Stan throws in a few of his trademark ballads.

There's plenty of good stuff on this album, but I'll mention some of the highlights: the Survivor-like "Stand In The Fire" is one of the "action movie songs", as is "Heat Of The Battle", both the kind of songs that would have been perfect for the soundtracks of Rocky IV or Top Gun. "Thunder In Your Heart" IS actually a song from an 80'ies movie ("RAD " 1986), originally recorded by John Farnham, now updated by Stan. It's still a powerful song, with massive keyboard hits giving it some extra boost. The guitars could have been more upfront though. Out of the more balladic songs my favourites are the AOR gem "The Memory Of You", which isn't really a ballad but a hauntingly beautiful midtempo song, and the more traditional ballad "If I'm Not Lovin' You". The verses do bear some similarity to those of Warrant's "Heaven", but let's not let that bother us too much...

Once again Stan has decided to include yet another version of his most well-known track "The Touch" on this album. Frankly, I could've done without "The Power Mix", it really doesn't add any power to the track. It does sound more contemporary but it's also more repetitive and duller than the original. Well, if it helps selling a few more copies of this album then I guess its' inclusion is justified.

Website