Tuesday, March 12, 2013

FM: "Rockville"


Riff City Records 2013

www.riffcityrecords.com/

Review By Alan Holloway

RATING: RRRRR








FM are the group that never quite made it but never quite gave up either. Vocalist Steve Overland once joked about the number of top 50 singles they had back in the day, never quite cracking the charts like so many people predicted they were destined to do. Then, in the 90’s, grunge came along and kicked them in the bollocks. Grunge was like that, which is why normal people hated it. Today’s kids have David Cameron to hate, we had Grunge.
So FM disappeared for a while, but the rise of the internet allowed more and more people to badger them about getting back together, and so they reformed for a one off gig at Firefest in 2007, having so much fun and receiving such a great response that they decided to give it another go. The comeback album, ‘Metropolis’, was a corker, the band incorporating a more bluesy sound to go with their soulful AOR, most likely due to the recruitment of new guitarist Jim ‘Even His Shooze Are Blooze’ Kirkpatrick. Next month sees the follow up, for which the band have embraced the modern age by funding it through Pledge Music, something that was so successful they’ve actually recorded a second disc after getting more than double their target. For now, though, it’s time to visit ‘Rockville’.


The album opens with a muted guitar and muffled drums that take a few seconds to burst into stereo (yeah, it’s an old trick) and we’re off with ‘Tough Love’, a mid paced track that rattles along with a strong beat until the catchy chorus kicks in. If there’s something FM know about, it’s catchy choruses, and this one will have you singing along with no difficulty whatsoever. Steve Overland croons as well as he ever does, and to be honest it’s a pain writing about him because I tend to run out of superlatives to describe his voice. Let’s just say he’s jolly good at this singing lark, is Steve. The production is nicely in your face, allowing Pete ‘Don’t Call me Robert Lindsay’ Jupp to really shine at the back, as well as showing off the very tidy licks and solos from Young Master Kirkpatrick. This is definitely a textbook way to start an album.
Track two, ‘Wake Up the World’, is actually one of my favourites on the album. It starts off like a slow, soulful ballad, picking up the pace slowly and moving to a superb chorus that should have hands waving live. It’s got an ‘Only The Strong’ vibe about it, which can’t be a bad thing. The quality continues with “Only Foolin’, which fans should be aware of from the EP release last year, then it’s on to the first truly AOR track on the album, ‘Crave’. This is a guitar led, summery song with a great hook, and although it’s about a failed love affair the melody is so infectious you’ll be glad it failed!  Next up there’s a nice little duo in ‘Show Me The Way’ and ‘My Love Bleeds’, two tracks that bounce along very infectiously, although I can’t help thinking that in the latter Steve Overland is singing about ‘My Love Beads’, the dirty boy! It’s a good, chunky riff driven song, though, whilst ‘Show Me The Way’ has a little more fluff but is no less catchy.

The first ballad comes in at number seven, in the shape of ‘Story Of My Life’. As with any FM ballad, it’s lifted from potential obscurity by Overland’s soulful delivery. I have to say that I’m not a massive ballad fan in general, but this has got an amazing chorus that will keep it on the playlist for sure, even if the opening piano bit is almost lifted from Heart’s ‘Alone’. ‘Better Late Than Never’ kicks off with a solid, bluesy riff from Jim, morphing into a more standard AOR track which will keep your toes tapping and your fingers clicking with it’s infectious beat and a groove that flirts between melodic rock, blues and a little honky tonk thanks to Jem Davis on the keyboards. I think my favourite track must be ‘Crosstown Train’, where FM finally get to let loose with some truly big riffage and a faster pace than elsewhere. Jim gets to play with fills, riffs and a great rock solo, and probably the best comparison would be the storming ‘Bad Luck’ from the ‘Tough It Out’ album, more for the feel of the thing rather than the actual tune involved.

The album closes with another two great tracks, marking a full house for the album, quality-wise. ‘Goodbye Yesterday’ and ‘High Cost Of Loving’ both score high in the melody stakes, with the former treading familiar melodic rock territory and the latter with a more soulful edge. Together they wrap up what may well be the bands finest effort, certainly up there with the likes of ‘Tough It Out’ in terms of melody and power. I’m certainly intrigued as to what ‘Rockville II’, the ten track disc to be released on March 25th, will bring.  Suffice to say, this is an album FM fans will adore, and if you spread the word through social media with the video for ‘Tough Love’ freely available they may just pick up some new devotees. Either way this is a must, so Buy Or Die, true believers.






Sunday, March 10, 2013

JIMI HENDRIX: "People, Hell and Angels"

RATING: RRRR
LABEL: Sony Music
Review By: Martien Koolen
Jimi Hendrix was and will always be the BEST guitar player ever, no guitar picker ever reached or will reach his level of guitarplaying. I have almost all his albums, legal, illegal, bootlegs, you name it and I have it; so I was really looking forward to this "new" album, as I really loved his 2010 album Valleys Of Neptune. People, Hell and Angels is Jimi's "new" album, featuring twelve never before released studio recordings and showcases Jimi's work outside the original Jimi Hendrix Experience.
As a Hendrix afficianado I already know seven of the twelve songs and that is one of the reasons that I am a little bit disappointed in this album. Songs like Earth Blues, Somewhere, Hear My Train A Comin', Bleeding Heart, Izabella, Crash Landing and Hey Gypsy Boy (which is in fact Hey Baby) can already be heard on albums like War Heroes, Crash Landing, Cry Of Love and Rainbow Bridge. I must admit that the versions on this album are not the same as on the beforementioned albums, but still, the best version of Hear My Train A Comin' can still be heard on the superb live album Band Of Gypsys. But the unknown songs on this album are really worth buying this album anyway. Especially Easy Blues, an almost six minutes long instrumental track shows Jimi at his best, but Inside Out is also a rather unkown but magical Hendrix song; while the last song Villanova Junction Blues is just too short (1:48) to really enjoy.
Sadly there are also two missers on this album, or should I say Hendrix unworthy... Namely Let Me Move You, a funky soul track which is completely ruined due to the saxophonesolos of a guy named Lonnie Youngblood! In my humble opinion Jimi's breathtaking guitarplaying do NOT mix with saxophone solos!! The other rather redundant song on this album is called Mojo Man, featuring singer Albert Allen, while the song also contains piano and horns!!! Again this is a combination which I cannot really appreciate in Hendrix's music. But overall I am quite happy with the album, so that the music of the best guitar player ever will never seize to amaze its audience. Best song without any doubt: Easy Blues, and play at maximum volume, please!!

EARLY MAMMAL: "Horror At Pleasure"

Rating: RRR
Label: Devouter Records
Review by Martien Koolen
Early Mammal was founded in London in 2012 and consists of Rob Herian (guitars, vocals), Ben Davis (drums) and Deniz Belendir (organ and synthesizers). Their typical sound reminds me of notorious bands like Captain Beefheart, White Hills, The Stooges and Hawkwind. The album features 10 tracks of which 5 are instrumental although songs like opener The Right Hand and the last song Uncle Scary's Left Hand almost only consist of guitar howling sounds. Checking The Bullshitter's Queen and Going Out are two great psychedlic instrumental songs featuring amazing guitar pieces, addictive hooks and riffs galore. The vocals on this album are really not my cup of tea as Rob Herian sounds like Iggy Pop with a terrible cold, but songs like Final Witch and Demon Or Saint sound rather ok if you forget the horrible singing parts. All in all not a bad album, which you really have to get used to, so listen to it a lot and then you will probably like Early Mammal as much as I do.

Thursday, March 7, 2013

BLACK VEIL BRIDES: "Wretched And Divine: The Story Of The Wild Ones"

Rating: RRRR
Label: Lava/Universal Republic 2013
Review by Kimmo Toivonen
Black Veil Brides came to my attention in an old-fashioned style - via a music TV channel. We were in Germany, taking a break in the hotel room, and there was Viva or some other similar channel on TV. Among the usual pop/r'n'b/chart stuff the Brides' "Rebel Love Song" video stood out like a sore thumb. The song was a great, catchy hard rocker and the band looked like a updated version of Mötley Crüe. The album went to the shopping list immediately.

Now the Brides have released their ambitious third album. "Wretched And Divine: The Story Of The Wild Ones" is a concept album about a group of rebels ("The Wild Ones") who are fighting an evil organization called "F.E.A.R.". In addition to the album, there's also a movie titled "Legion Of The Black", which is or was apparently available somewhere as a Pay-per-view movie. Watch out for a "deluxe edition" of the album with a DVD... or the other way around.

From their humble beginnings as a more of a screamo/emo band, BVB has evolved into a fine rock band with a keen sense of melody. There are really no traces of screamo-type of stuff left on this album, which is fine by me. The band themselves have said that this is their "punk album... Social Distortion meets Metallica",and maybe there's some truth in that. There's a bit of punk vibe in "I Am Bulletproof" - it reminds me distantly of Bad Religion and some of the guitar work has a slight Metallica vibe. Overall, this is a darker album than their previous one, but I'd also say that it's more melodic at the same time. The melodies and the hooks aren't necessarily the most obvious kind, more like sneaky ones you'll find yourself humming and wondering "where did that came from?". To name a couple, "Devil's Choir" and "Resurrect The Sun" have done that to me...

Apart from those "subtle" songs, there are some big and bold singalong anthems: "We Don't Belong" relies on the tried and trusted "Whoa Whoa Ohhs", while has some of those too and a children's choir to boot... not to mention one of this year's biggest choruses.

All in all, a fine album with an interesting storyline, yet the songs work as single pieces of music too.
Website
You Tube



Tuesday, March 5, 2013

STRYPER: "The Second Coming"

Rating: N/A
Label: Frontiers 2012
Review by Alan Holloway

Now this is an odd one. Stryper needed to retain control over some of their songs, and the way to do this is to re-record them. You don’t have to release those recordings, but they have done so anyway. So on one hand, this is a compilation of some of the best songs from Stryper’s first three albums, albums that still stand up today in terms of songwriting. On the other hand, is it worth buying when you already have the original versions? Tricky one…

Of course, it’s all sweetened by two excellent new tracks “Bleeding From The Inside Out” and “Blackened”. Both are proper rock monsters, riff heavy and full of power, fitting in very well with the older tracks. As for the old tracks themselves, it’s no surprise that they all sound great, although it’s not all perfect. “Calling On You”, for example, sounds worse than the original because of added guitar, and throughout there are instances of Michael Sweet not daring to reach some of the more glass shattering notes, although he has still got an excellent voice. If you grew up with these songs, as I did, you will notice every extra drum beat or slight pitch change, and it can be a little jarring at times. It’s been said that the new production makes a big difference, and whilst it does beef up the bass it’s not really that big a deal.

Stryper should have a new album out later this year, and to be honest this should have been a bonus disc and not a standalone release, much like Journey did when Arnel Pineda recorded some of the old classics. So whilst the two new tracks are certainly worth owning, and all the other tracks are superb, unless you are an avid fan or get it cheap this isn’t an essential purchase in any way.
Website

Friday, March 1, 2013

CITY REIGN: "Another Step"

Rating: RRRR
Label: CarBootRecords/ 2013
Review by: Urban "Wally" Wallstrom


Manchester - a City United in music? Giggs & Kompany are excused as this particular team of musicians are determined to score with their very first shot at goal. The U.K. four-piece City Reign - name coming from the Ryan "Not Bryan" Adams' song 'City Rain City Streets', and their full length debut "Another Step" is the indie guitar record fuelled by sheer ambition and alcohol?

Guitarist Mike Grice and vocalist Chris Bull met at a Ryan Adams gig (hint the moniker). The two hit it off bonding over a love of Adams (Not Bryan), R.E.M. and The National. They've certainly been the indie talk of the town lately and the recent U.K. tour caused Clash Magazine into recognising them as one of the best bands on the circuit. All the band members are professional performers and they keep you on your toes throughout the album.

Soundwise, they aren't all that USA though, mainly because they play a style of indie that smacks of old style eighties, but also becasue the singer is British and proper British I may add. I do have a soft spot for superb alternative eighties UK pop and I can't get enough of The Jam, The Smiths, The Cure, or any other 'The' band for that matter. Throw in the hint of early nineties Brit-Rock, as well as REM, Ryan, and you're pretty close to the core of City Reign. Very solid material throughout. Nontheless, "Retaliate" gets the vote of best track since there's something special and out of ordinary about the stripped down indie tune. Recommended.
www.cityreign.net
www.facebook.com/cityreign

TANGOWERK By Nhoah

Rating: RRR
Label: Universal/ROT 2013
Review by: Urban "Wally" Wallstrom


Tangowerk by Nhoah? Now that's just plain weird? Yeah, but, no, but, amongst all the bandwagon chasers who seem to only aspire to become another pro-tools' wonder of cut-and-paste, it's always nice to come across an artist with a very different agenda. Berlin composer/producer Nhoah's first solo album is a multi-faceted and coloured effort consisting of (eighties) synthpop, tango orchestration, and various electronica.

Having previously collaborated with the likes of The Pogues, Bronski Beat, and MIA, the German has been a part of the Berlin's glamour, synth, and gay/trans scene ever since the eighties. The album is the mirror of a life lived through music. Sounds of his childhood are recreated with analogue radio techniques and close harmony effects, while the evolution into glam rock and synth is projected via synthersizers (duh!) and glitter rain. Make sense? Ehhh... let's just continue with the actual music.

Holly Johnson from Frankie Goes To Hollwood, Visage, and various 80's synthpop - no doubt Nhoah's biggest inspiration and influences. The trip to Buenos Aires in 2005, a source for something new and unexpected. Thus why you get the Tango beats and extremely dodgy moves every now and then. Let's just say that I definitely prefer the 80's synth tracks in favour of the likes of 'Tuyo Soy'. 'Dancing On The Volcano' - Sigue Sigue Sputnik meet Billy Idol on acid electro pop? Having already been released in Germany, Nhoah has reached worthy critical acclaim for Tangowerk. It was nominated for the German Record Prize and the ECHO newcomer of the year.

Tangowerk is the  CD/DVD package. The CD contains 14 tracks, while the DVD contains an hour of video including a 38 minute "Making of" feature. Nicely done gatefold sleeve with the 64 page booklet containing lyrics, photos, etc. It's solid work, quite different, but not always great.
www.tangowerk.com

Chantal CLARET: "The One The Only"

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

Modern twist on early femme-pop? The lovely Chantal "CC" Claret mixes big sixties beats and the sultry swing of Peggy Lee (Fever), Nancy Sinatra (These Boots Are Made For Walking), etc. with a contemporary hip hop embllishment, for her solo debut, "The One And Only". You may remember Chantel for her time fronting sort of acclaimed rock band Morningwood, as they sold out tours around the world and had the #1 debut on the billboard Heetseekers Chart.

Chantal is a very agreeable character, little lady - big voice, cool as the summer breeze. Add the pleasant temprament and quite the witty lyricist, but this doesn't mean that everything she says or rather sings make sense. Perhaps you're not supposed to read in too much into song titles such as "Pop Pop Bang Bang" or "Honey Honey" ?? Like, whatever. There are so many artists/bands out there that are just singing nonsense and these tracks are no worse or better than anyone else.

It's obvious that several tracks fall into or under the same category as Amy Winehouse and her followers such as Duffy. But, you also get the more contemporary hip hop dance sound and arrangements. The secret of success? Simply repeat every other word twice-twice honey honey and pop pop bang bang along-long to the happy happy joy joy melodies? Oy oy. So-so. Bye Bye.
www.chantalclaret.com

Monday, February 25, 2013

VADUZ: "Better Days"

Rating: RRRR
Label: TwoSideMoon 2013
Review by: Urban "Wally" Wallstrom


Here's the fun surprise from out of nowhere. The (his)story of U.S. melodic rockers VADUZ dates all the way back to 1987 when Brian Wade (vocals) and Ringo Lee (guitars) played in a band called Blind Ambition. Before long they changed their moniker after the capital of Liechenstein (!?) They soon replaced the original bassist with Jimmy Krio and discovered drummer Matt Finn. The band toured smaller venues in the states and recorded two indie albums before they decided to call in quits in 1993.

Fast forward to present date, the reunion, and the rather smashing new, kicking it old style, melodic hardrock CD, 'Better Days'. Hardly original U.S. hair-metal, but never derivative, thanks to Wade's emotive performances and songwriting. Indeed, he's the rather confident and strong vocalist in the grand tradition of CJ Snare (Firehouse), Jani Lane (Warrant) with merely the hint of Eric Martin (Mr Big). Not quite as great as the latter of course, but he won't disappoint.

Some of the material (such as "Enemy") taking on a more 'Dog Eat Dog' (Warrant) melancholic lite, while "Lowdown Blues" is the traditional blues/rock number. However, 'Better Days' - overall a powerful salute to hair-metal and sing-a-long anthems of the eighties. There is some real charm in the likes of 'Working Band', 'I Saw The Light Again', and the pure innocence of the power ballad, 'Thy Kingdom Come'. Bless you for giving us proper, borderline cheesy, but oh-so catchy, soft-rock with positive, thought provoking lyrics.

Nice production by Tom Tatman (responsible for 300 records including Stone Sour's 1st Gold album). Recommended if you're into Warrant, Firehouse, Idle Cure.
www.facebook.com/pages/Vaduz/
www.cdbaby.com/cd/vaduz

BOIL: "aXiom"

Rating: RRRR
Label: Vicisolum 2013
Review by: Urban "Wally" Wallstrom


Step right in... 'The Madhatter said to Alice'. Nervousness, depression, strapped down, medicated, sedated, restrained. The spanking new episode of Geordie Shore? Nah. Merely some of the brand new topics found at the latest album from the Aarhus, Denmark rockers of Boil. The inspirations of "Axiom" came out of a series of interviews the band (with the help of various mental institutions and organisations) arranged with a number of people suffering from mental disorders, especially paranoid schizophrenics suffering from delusions.

...And before you ask. No, they didn't talk to yours truly even though I believe to be an ancient Norse God with the power to either praise albums/bands or... ehem, not praise them? Maybe next time, huh? So this is Mental Metal? It's however the rather strange concept album largely based on the extensive notes from the bedlam sessions. Mixed and mastered by the reknowned Swedish producer Jens Bogren (Opeth, Soilwork, Symphony X) and featuring artwork by Travis Smith (Nevermore, Opeth, Katatonia), expect nothing but proper craftsmanship.

The darn good and darn right refreshing album can be loosely defined as Progressive Metal, or the collection of complexity and catchiness with elements of poly-rhythmic modern metal and just the hint of electronica. Highly technical and sonical metal music with a different rhythm of the heart. One thing's for sure, they do not march to the beat of a normal/standard drum. Jacob Løbner goes through several stages of vocal flexibilty and it's clearly the full spectrum on display here. The blend of prog, melodic rock, as well as alternative nineties rock/metal, may not appeal to everyone. However, it's sheer quality throughout the album.
www.boilmusic.com
www.facebook.com/boilmusic

MOTHERSHIP: "Mothership"

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


Mothership - Mothergoose - Motherfooker! The opening instrumental piece entitled, "Hallucination", should provide enough of information and give the hint of what to expect from the Texas based band consisting of Brother Juett (Kyle on bass and Kelley on guitar). It's basically stoner metal and the combination of seventies heavy rock fuzz and the grinding guitar work of NWOBHM.

Geezer (the clueless reviewer) believe them to have an AC/DC like sound on a track like "City Night". Nothing could be further from the truth. If anything, they sound like your average garage band inspired by the likes of Black Sabbath, The Stooges, Mountain, Motorhead/Hawkwind, and early Iron Maiden (the Paul Dianno era). Thus ending up in the similar kind of category as Graveyard and all the other cult/underground acts of today's metal scene. I can't say that I agree with the press-sheet since they believe them to have the swagger of Molly Hatchet and ZZ Top???

They are however pretty decent at what they do and it's plain to anyone who's ever listened to several different music styles to find out where they are coming from. Not a bad album and proper stoner-lite fans may appreciate this more than your average non pothead.
www.facebook.com/mothershipusa

TASTE: Taste

Rating: R
Label: AORHeaven 2013
Review by: Urban "Wally" Wallstrom


We are not amused! (Bad) Taste were probably aiming for a simple laid-back production with matching material. Sadly the result has no real musical identity and the one dimensional vocal style cuts like a knife. AOR Heaven should definitely know better than releasing an unfinshed production. The harsh reality. 4-track demos of the eighties sounded better than this. Need more info? Rather than throwing Irish confetti at the band - original sheet as written by the label follows. Make your own mind up. Straight to the bin...

Attention: Press-release as written by the label - not the reviewers opinion: "Taste was formed by the two brothers Christoffer and Felix Borg the day before new year's eve in 2009. First, Taste was only supposed to be a side-project, because both also had played in other groups. But it didn't take long before the Swedes decided to turn Taste into a full band. During the two following years, they wrote and recorded five songs inspired by the 80's and bands like Europe, FM, Giant, Valentine and White Lion. Since they never met any suitable band members to complete the line-up and therefore couldn't play live, the brothers decided to record their first full-length album themselves. Taste had a vision to blend a vintage 80's sound with a fresh modern production. The self-titled album was recorded, mixed and mastered by Christoffer Borg in his own studio".
http://www.facebook.com/tastetheband

Sunday, February 24, 2013

Black Rose: "Turn On The Night"

Rating: RRR
Label: Doolittle Group 2013
Review by Kimmo Toivonen
Welcome to the time machine! This time we're going back to... 1984! Seriously, everything about this album sounds, looks and probably smells like it was recorded 30 years ago! Black Rose have absolutely no modern pretensions, they're doing it like it was done back then.
Although the band is from Sweden, they sound very British. Do you remember the snappy tag "New Wave Of British Heavy Metal"? Well, Black Rose would have fit right at home among those bands, possibly representing the more melodic, slightly U.S. influenced side of it. Tokyo Blade, Heavy Pettin, early Def Leppard... or if Iron Maiden had gotten a serious melodic rock bug after their first couple of albums.
Vocalist Peter Thederan has a pleasant raspy voice which reminds me of Graham Bonnet at times, guitarist Thomas Berg delivers effective if tried-and-trusted riffage and the rhythm section of Peter Haga (drums) and Anders Haga (bass) keep this Metal Train on the rails. As for the production... well, if the mission was to make an album that sounds like it was recorded in the early eighties on a low budget, I'll have to say that the mission has been completed. A bit rough around the edges...
The album's best ingredient is the most important one - the songs. The band has obviously paid attention to the choruses, as there are a few really catchy ones on the album. "Rise Again", "Turn On The Night", "Our Wisdom" and the ballad "We Were Winners" for example. The choruses kind of take you by surprise as the verses are more in the NWOBHM vein.
If this was a demo or a self-financed album, I'd say go and find a producer, work on your songs and maybe write a few more and then record a great album. But as this is a legit release, I'll just say "a good effort" - three R's.
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W.E.T.: "Rise Up"

Rating: RRRR
Label: Frontiers 2013
Review by Kimmo Toivonen

Ah, "The difficult second album"... after spending their formative years writing songs for the first album, most bands struggle coming up with material for the second effort. W.E.T. aren't exactly a typical band - the songs for the first album were written "on demand" from the label and I guess that goes for this second album too. Anyway, the first album was one of the highlights of 2009, so the guys must have felt some pressure to come up with a decent follow-up. You might think that four years is plenty of time to write a new album, but not in this case. The three core members Jeff Scott Soto, Erik Mårtensson and Robert Säll have been quite busy, I think they've written at least a half a dozen albums between them since the release of the first W.E.T. album! Especially Mårtensson has been delivering quality albums one after another - Toby Hitchcock, Eclipse, Jimi Jamison... but apparently the well hasn't run dry yet.

If you liked the first W.E.T. album, I don't think you'll be disappointed with this one either. It isn't quite as loaded with smash AOR hits and there are a few filler'ish tracks on it, but I guess it says something when even the weaker songs are at least "okay".

To quickly sum it up, when it comes to those smash hits, I'd say that there are two of those on this album. The first single "Learn To Live Again" is one of the best songs of 2013, and "What You Want" is only a step or two behind. Almost as good are the opener "Walk Away", "Shot" and "Still Unbroken", maybe even "On The Run". Surefire "Best Of W.E.T." material, all six of them. That leaves us with six other songs, which are all "okay" or better, but still... Maybe I'm greedy, but I was hoping for more. And to be honest, even though Mårtensson's well isn't dry, his trademark tricks are perhaps a little too evident on some of the songs. Still, easily one of the highlights of the year so far, and now that the band's been added to the Firefest line-up, I'm looking forward to hearing some of these songs live.
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Saturday, February 23, 2013

WHEN THEY WAKE: "Be Your Own Hero"

Rating: RRRR
Label: TwoSideMoon 2013
Review by: Urban "Wally" Wallstrom

No compromise - no rules. Proper craftsmanship and ambitious musicians dedicated to the cause of trying to create music history and their own path to/of success. Melodious, emotional, melancholic - three words that pretty much sums up the Swiss power-trio of When They Wake. Elected 'Best New Talent' in a contest by The Swiss radio station Radio SRF3 in December of 2012, the lads are now releasing their debut double album - "Be Your Own Hero".

That's right. 2-CD! 21 songs! Very ambitious and straight against the wind and not to mention the trend of merely d/l the one or two songs from name-your-fave site here. Sure, it's pretty tame stuff if you do not appreciate emo and varied tunes, and there's hardly anything on here to please the strickly Slayer fan. Nevertheless, the whole she-bang glows with that Story Of The Year vibe and Bullet For My Valentine heaviness.

Very EMO at times and the melodies speak of loneliness and lack of orientation, and how to overcome this with courage, will, or simply just through music? Originals, they are certainly not, but the catchy sentimental slobber gets you in the heart everytime? I like the concept, their professional approach, the production, and the majority of songs even if it's a stretch to include twentyone fookin' tracks. At times simply too much of the melancholic piano interludes as well as the cello, violin, and choirs. But overall the highly recommend act if you're into commerical melodic rock. Check out links for more info asap.
www.whentheywake.com
www.facebook.com/whentheywake

STRATOVARIUS: "Nemesis"

Rating: RRRR
Label: Edel/EarMusic 2013
Review by: Urban "Wally" Wallstrom


Those lucky enough to have heard the first single off "Nemesis" have already begun to spread the tangible buzz about the album. Yours truly thought perhaps that "Unbreakable" came out sounding a bit too poppy? Not to mention the lack of a proper guitar solo? Ehem, their former guitarist/founder and overall almighty leader must be spinning in his grave. No... wait... he's not actually dead? no?

Going through the vast back catalogue which they have out further attests to Stratovarius' broad appeal, each record (ever since the loss of their original leader) exploring a slightly different thread of their melodic sound. The virtuoso keyboard player Jens Johansson (ex-Yngwie Malmsteen, Dio) at the very centre of attention and I miss the proper guitar/keyboard interludes of the good old days. Lo and behold, the ebony and ivory man shines likes a radioactive star on "Nemesis", but whatever happened to the matching six-string genius?

And seriously... what's your honest opinion about any band/group without a single original member? Let's just say it's a completely different act and sound. Keeping this in mind, "Nemesis" is a much more realized record packed with neat rhythm guitar work and lasting pop/metal tunes, whose epic, sing-a-long choruses, you can really sink your teeth into. It's no doubt a catchy, borderline kitsch record, but if you thought "Unbreakable" was pop, wait until you hear the digi-pack bonustracks and especially "Fireborn".

Final verdict: Yeah, I do complain about several things. However, when everything's said and done, "Nemesis" - not your mortal enemy and the poppy/catchy material wins you over in the end. In fact, this is probably their catchiest album by far. Short and direct material. So... why do I complain??

The BLUE SCREEN OF DEATH: "Leave The Future Behind"

Rating: RRR
Label: TwoSideMoon 2013

Review by: Urban "Wally" Wallstrom
Social awkwardness vs. musical talent? United by their love of computer games, action movies, and probably role-playing games such as dungeons & dragons, the members of The Blue Screen Of Death are finally ready to "Leave The Future Behind". And why not? They haven't managed to bring Southampton legend Matthew LeTissier back from the future, but at least the Saints are marching in to the beat of the same drum.

The Blue Screen Of Death are to my vast knowledge (yeah, right!) rather well enstablished within the Southampton (UK) area with regular gigs at The Joiners and The Hobbit. Features at Scuzz TV, NME, BBC 6 Music, and Kerrang Radio, plus live support slots with the likes of Orange Goblin, Dinosaur Pileup, Turbowolf, etc. has created a certain buzz. But what about the fuzz?

Why should you bother? Is it the extremely noisy/fuzzy guitar work? Their ability to come up with commerical psychedelica? The slightly over-the-top bass-lines? Or simply the blend of eighties and nineties alternative pop with the heavy riffage of Kyuss? At times very British/English and full of subtle influences, grooves, and sounds that dates all the way back to The Damned and Stone Roses.

Back after their previous, self-titled mini-album, which was a heavy and psychedelic piece, they are now adding a poppy vibe to their utter noise factory. "Leave The Future Behind" provide a funny, irreverent and rather alternative feel-good moment.
www.thebluescreenofdeath.co.uk
www.facebook/bluescreenod

SUBZTAIN: "Conflict Solution"

Rating: RR
Label: TwoSideMoon 2012
Review by: Urban "Wally" Wallstrom

Commercial feel with heavy riffs, topped off with Swedish melodies and Nickelback-ish vocal harmonies. Subztain have been accused of playing around with different styles, techniques, and genres. Thus why it is no coincidence that their album sounds like a terrorist causing an explosion at the hard rock cafe. Bits and pieces of this and that all over the place. The rhythm section consisting of bass-player Andreas Morling (also lead vocalist) and drummer Mattias Nielsen - very groove orientated and bringing to mind the likes of Linkin Park vs. Alter Bridge.

They're from Upplands Väsby (Stockholm suburban), the home of Europe, Candlemass, H.E.A.T. but couldn't be futher removed from those acts. We shouldn't assume that they are automatically guaranteed the same amount of success though, since it's a completely different kind of ballgame at play with "Conflict Solution". Great overall sound and production by Chris Snyder (HEAT, Nightwish) and the mastering session took place at the classic Abbey Road Studios.

The songs are neat. They are the rather promising Swedish hopefuls, sadly they are also square and utterly safe as a friggin' Volvo. Not nearly as lame as Takida, but they probably need to step up the pace and remove the air-bags for the next ride.
www.subztain.com

SUNCROWN: "Follow Your Dream"

Rating: RRRR
Label: TwoSideMoon 2013
Review by: Urban "Wally" Wallstrom

Patchwork quilt... what better way to describe Suncrown than as a piece of patchwork? The group's members have never actually met in person, only virtually over the internet and it's probably for the best, since they're literally based all over the place. USA native vocalist Darren Crisp and keyboardist Oleg Biblyi of Ukraine - the first to bond in mid 2011. They found a bunch of musicians online who shared their love for melodic epic/symphonic metal.

I'm not entirelly sure if you could call it a band since it's rather a project? But whatever. They found no less than six of them all around the world: Julian Furiani (vocals/Brazil), Kevin Ellerby (guitar/USA), Gustavo Bonfa (guitar/Brazil), Ugur Kerem Cerniloglu (Flute/Turkey), Ederson Prado (bass/Brazil) and Tim Zuidberg (drums/Holland).

Seriously mid-paced metal that tries to keep up with the best of projects, then surprises you by coming pretty close. Crisp is the consummate American metal head. Strong, slightly raspy vocals and for the most part it's a great combination. The soaring voice of Juliana works more towards the tradition of Tarja and Goth without getting into the worst operatic side of things.

It's true Suncrown's melodic symphonic mayhem isn't breaking any boundaries, but when they bring out all of their instruments and swap vocal duties, you're left feeling pretty satisfied as they ecourage you to "Follow Your Dreams". The epical arrangements and highly intense and tracks such as "Eyes Of The World" or the smashing title track are simply flawless. Recommended.
www.suncrownband.com

RIVERA/BOMMA: "Infinite Journey Of Soul"

Rating: RRR
Label: Retroactive 2013
Review by: Urban "Wally" Wallstrom


Rivera/Bomma and their brand new release at Retroactive Records, "Infinite Journey Of Soul". Musically, they are a very Neo-classical unit. They combine and play Yngwie Malmsteen vs. Loudness influenced metal which is obviously drawn from the members various background, but they have also added a certain Rob Rock and Barren Cross richness and breadth to their crunchy melodies.

The flashy guitarwork and solos by Mister Rod Rivera, the band's real ace up their sleeve. Some may also say that he's a real deadringer (image-wise) for Stryper's Oz Fox. The Rob Rock lite vocalist Johnny Bomma, not quite as top notch all of the time and the operatic vocals may need some honing and time getting used to. Make no mistake, he could sing circles around your average metal shouter anyday of the week though.

The production by the band may suffer from the typical low-budget sickness and the lacking of depth. Bass player Mike Lepond ceratinly won't be fully satisfied with his particular sound in the mix? I'm not entirelly sure if he's present throughout the album? Well, not quite as bad, but you get the idea. Final verdict: In the current metal climate it's always nice to witness a pure eighties guitar shredder album. I believe they face a serious struggle though as the material sits nicely inbetween great and bad - neat.
www.facebook.com/rivera.bomma

REQUINOX: "Through The Eyes Of The Dead"

Rating: R
Label: TwoSideMoon/OneNightStand 2013
Review by: Urban "Wally" Wallstrom

Some singers owe their reputation to massive excess of booze and drugs. Some others due to extravagant life style and image. The majority of them are however either good, bad, or just plain ugly. Kenneth 'King Rock' Fjeldstand shall however be the first to fall under all the above mentioned categories. At times spot on and quite the forceful metal vocalist. Most of the time it's the painful listening experience as he stumbles across and around the place/record like poor Ozzy on LSD.


People including yours truly may say it sucks, but at least it sucks honestly. Sadly the vocal performances as well as music and lyric of tracks such as "Jackie The Stripper" and "Dance Of The Dragon" will probably go down in history as best/worst example of accidential metal comic performed by comedians... ehh, musicians. Musically reminiscent of Spinal Tap and Bad News, the Norwegians lads have adopted a certain style, which if you do it right, is going to be the cause of plenty of headshakes and giggles. They are obviously not aware of this since they proclaim to be the real deal... oh my.
www.requinox.com

Friday, February 22, 2013

DIAMOND DAWN : "Overdrive"

Rating: RRRR
Label: Frontiers 2013
Review by Kimmo Toivonen

Pop quizz: name a young Swedish 6-piece AOR group with a vocalist who has a Woody Woodpecker haircut? No! Not that one! I'n talking about Diamond Dawn! Yeah, there are some similarities with the other b.a.n.d., but that doesn't mean that Diamond Dawn's first album isn't worth of checking out. They might not be on the same level as their rivals yet, but give 'em a couple of years...

The band's strongest songs have been placed early in the tracklisting. The first four tracks are arguably the band's finest ones so far. The title track starts the engine, a keyboard-driven track that reminds me of Bad Habit and Autograph - definitely "summertime AOR" that brings some sunshine into these dark days of winter. The first single and video "Take Me Higher" might be familiar to some of you already, it's a strong track with some great ingredients: a pumping bassline, stabbing keyboards and fine melodies. I wasn't sure about the understated chorus at first, but having listened to it more, I've grown to like it a lot. Sometimes it pays to do things a little differently. Never mind the "higher-fire" rhyming! "Cryin'" is another fine melodic rocker with plenty of nice keyboard work courtesy of Niklas Arkbro, while "Standing As One" is an anthemic AOR track with a big chorus.

The rest of the album isn't quite as good, although there are some songs that I want to mention... "Indestructible" sounds like Work Of Art in... well, overdrive and despite an unhealthy amount of "desire-higher-fire" rhymes it works quite well. "Turn It Up" has probably the silliest chorus of the album which doesn't work for me at all. "Give It All" is a good uptempo number, although the chorus might be too sugary for some. The band's obligatory ballad "Don't Walk Away" is nice, but as predictable as the title suggests. "Powergames" sounds like it just escaped from Europe's "Out Of This World" album, which is probably a recommendation of the highest order to some. I'll just add that it might have escaped to search for a better chorus for itself...

Okay, this review turned out a bit strange but you'll get the idea I guess. Diamond Dawn aren't certainly offering us anything particulary new, but at their best they put a new flavour to their brand of AOR. That's enough for me.
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ROCK CANDY FUNK PARTY: "We Want Groove"

Rating: RR
Label: Mascot 2013
Review by: Urban "Wally" Wallstrom
Rock Candy Funk Party (RCFP from now on) - like a massive curry at the not so respectable indian palace. You're not entirelly sure if you're going to end up completely satisfied or with the terrible runs. At least you can be sure of that your belly will be rather upset no matter what the outcome. Make no mistake... the fever/groove will invade your body and soon your legs will start shaking...

Indeed, RCFP - the brand new instrumential funk/rock/jazz project - featuring the two guitarists: Joe Bonamassa, Ron DeJesus. Bassist: Mike Merritt. Keyboardist: Renato Neto, and drummer/producer: Tal Bergman. Challenging and complex. Nine original compositions that are recorded and arranged in the seventies groove tradition. Eyebrows will turn sideways, up, and down, while you are trying to figure out the dudes strumming some vintage Strato/Telecaster and Gibson Les Paul through their sixties amps.

It's difficult to pin point the sound of "We Want Groove". They have basically decided to bring out the old ghosts out of their pedals and tubes. And as for the actual tracks? Well, I believe that the illusion of many would be shattered if I dared to mention the complete lack of thread and style. It's an awful mish-mash of smooth jazz, funky beats, and a massive groove in the size of seventies sideburns. Kind of boring in the long run and strickly for the spaced out instro freak.
http://www.rockcandyfunkparty.com

SILVER HORSES: "Silver Horses"

Rating: RRRR
Label: TwoSideMoon/7Hard 2013
Review by: Urban "Wally" Wallstrom

Silver Horses are a bunch of old cowboys riding into the sunset on their... ehh, Silver Horses? Gold is better and platinum the best, if you ask me. Nevermind. Their self-titled eleven track effort is made up of classic seventies rock melodies and classy vocals that will have you standing up and take notice. Indeed, it's the old 'Headless Cross' resident (believe it or not, that's the name of the place where he lives) and RockUnited pal, Tony Martin of Black Sabbath fame. Let's face it, the man can do no wrong when it comes down to singing the blues.

Martin is apparantly fond of Italy and working over there. This is yet another one of his Italo/UK projects and this time together with Italian guitarist, Gianluca Vialli. Oops, that's the former Sampdoria and Chelsea striker. The correct name is of course Gianluca Galli of Time Machine and Mantra fame. The vast majority of the songs and their structure pretty much vanished approx 35 years ago when all the dino acts either died, disbanded, or ended up doing the bandwagon routine.

I'm not saying it's unique, but increasingly unlikely sightings of the old rock actually remains to be discovered. Page and Blackmore, - no doubt Galli's biggest influences both tone/style wise as well as their songwriting along with Mr. Coverdale. For example, "Run" will most definitely remind you of Deep Purple's 'Burn' (the song, not the album), "Life and Soul" goes through half a dozen of old Led Zeppelin numbers, and "Diamond Sky" - the slow, mid-paced, Robert Plant tune. It's darn interesting to hear the Black Sabbath singer's take on music in the style of Purple, Led Zep, and Rainbow.

We have (almost) all the important ingredient and greatness of the classic rock acts at play here. Nicely done, Silver Horses. Nicely done.
http://www.silver-horses.com


SKULL BRANDED PIRATES: "An Oath Sworn On Broken Bones"

Rating: RRR
Label: TwoSideMoon 2013
Review by: Urban "Wally" Wallstrom

Ahoy matey! Skull Branded Pirates from UK, Leeds? Sure, why not? It's really no biggie considering they gave us suicide bombers, 'Mad Dog' David Batty, as well as The Bailey Bros. in the past. We are no longer surprised by the midlands constant need to instigate rebellion or in this particular case, attempted mutiny. Pegged leg and a parrot? Raise the standard as the call of encouragement is heard across the seven seas - let's enroll more followers into piracy. Fair enough. I'll try and steer away from the most obvious jokes from now on.

"An Oath Sworn On Broken Bones" - the highly anticipated follow up to their 2009 debut, the touch of sea breeze, dodgy outfits, cannon fire and smoke. If you're prepeard to look past the image, you'll find their hard hitting music to rock harder and better than expected. Running Wild? Definitely, but, you will also find quite a lot of Skyclad amongst the merry crew.

Not to mention that vocalist - Captain One Ayed Wilson - works the rope like a Fish in the water. No seriously, if the former Marillion vocalist (Fish) ever decided to do pirate metal. Have a listen to the extremely moody title track if you don't believe your captain. Hardly everything that glitter is pirate gold, but you can't go wrong here, if you enjoy the above mentioned acts. What do you give pirates? 3 R's of course.... RRR!!!
http://www.skullbrandedpirates.com

DALLAS: "Over The Edge"

Rating: EP
Label: TwoSideMoon 2013
Review by: Urban "Wally" Wallstrom

Who shot J.R.? Dallas are a new melodic rock outfit from Texas? Nope, San Francisco Bay Area - classic homeground and turf of Thrash, Hippies, and various hangarounds. They were however fonded at the Dallas Ranch - high up in the hills of Castro Valley, and their multi-talanted frontman (vocals, guitar, keys, programming, songwriter, producer) goes under the name of Bryan Dallas.

There's a very attractive high energy met catchy hooks charm about the compositions which should definitely appeal to those who have a soft spot for melodic hardrock mixed with power pop sensibilities. It's the rather gloriously fun blend of rock in the style of Def Leppard, Tower City, Winger, and smooth modern pop/rock fond at the background of basically any U.S. tv series of today. In fact, the ultra cool party tune of "Bring The Light" was recently featured on MTV's Underemployed. Wicked!

Their EP and tracks such as "This Love" and "Open Your Heart" - gets you at the solar plexus and leaves you gasping for air. Gorgeous melodic rock with just the right amount of bubblegum and power anthems. "I Close My Eyes", probably the best new power ballad in ages and very true to their eighties influences. Pay extra attention to vocalist Bryan Dallas as you get the full monty with soaring high-screams and Dan Huff-gruff. Great!
http://www.dallas.la
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The BITTER ROOTS: "Chiaroscuro"

Rating: RRR
Label: TwoSideMoon 2012
Review by: Urban "Wally" Wallstrom
The Bitter Roots, a band from Seattle, US of A, consisting of vocalist/guitarist Jeff Stetson (ManSaveMan, Into The March), drummer ben Koostra (Silkworm, Ein Heit) and new bass player Don Allen. This is clearly a more experimental outfit than your average grunge act, introducing quite the vivid ideas together with a more eighties alternative approach, as the band draws from Punk, Metal, Garage, and lots of Pop.

The sound of the album, overall, is vintage indie alternative and recorded live in the studio to analog tape. Right, there's no click track, auto-tune, samples or basically anything post 1992. Indeed, old skool alternative, "Chiaroscuro" is a record which jumps all over it's influences and heroes. It's their third full-length release and late 2012 it reached #26 on the itunes New Rock chart and has been on the College Music charts across the states.

Here and there, they'll remind you of Surferosa (the album) and The Church, and in parts, you can pick up a definite liking for Seattle's pride and joy aka Kurt Cobain. Not too shabby,
http://www.bitterrootsmusic.com
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SNAKECHARMER: "Snakecharmer"

Rating: RRRr
Label: Frontiers 2013
Review by: Urban "Wally" Wallstrom
The Snakecharmers are obviously working hard to please the old fan of Whitesnake, Company Of Snakes, and vintage UK rock. Featuring two former Whitesnakes: guitarist Micky Moody and bassist Neil Murray, vocalist Chris Ousey (Heartland), Laurie Wisefield (Wishbone Ash) on guitars, and drummer Harry James (Thunder) should provide for classy blues rock.

Nontheless, any comparisons to fellow UK groups such as the fore-fathers or more recently Snakes (not to be confused with the Swedes of 'Snakecharmer' feat. Alien vocalist and Silver Mountain members) carry very little weight on the opening two tracks (My Angel, Accident Prone) as they suffer from obvious lack of quality in the songwriting department.

Things do get better from track three (To The Rescue) and onward as you receive a display of exceptional songs and close to impeccable performance in every single department, including vocals that nod appreciation to proper blues. Mid-tempo numbers that oozes of class and feature hummable melodies with background vocals in the old tradition of R&B and gospel. Amazing work by Moody and definitely an inspired return from a guitarist that has been sadly overlooked at times. Not as flashy and fast shredding as several other former Whitesnake guitarists, but plenty of soul.

Remove/skip the lacklustre display of the first two tracks and end up with nicely done Whitesnake, Bad Company-ish rock.
http://www.snakecharmer.org


COMA: "Don't Set Your Dogs On me"

Rating: RR
Label: Edel/Earmusic 2012
Review by: Urban "Wally" Wallstrom
They may not put you in a state of COMA, but unfortunately, the poles don't have too much going for them in my humble opinion. It's all urban metal meets poor man's commerical U.S. rock and rap-metal, the likes of which we've heard so many time before and just recently. Don't get me wrong, they might have improved since last we heard them (see review archive) and as we have stressed so many times before, this is not what we would label as the term of crap metal or crappy musicians. It's just more of the same stuff the Yanks have been force feeding us with ever since the turn of the century. It's like a long and endless celebration of the average American '2000 rocker stuck in a timewarp somewhere in the heart of suburbia, US of A. The songs are neither total crap nor ever good, what it is, is an typical document of average pole and his serach for the American dream and the ultimate average metal album. Well, guess what? This is it, you've found it! The perfect example of so-so music. Don't Set Your Dogs On me?

TEXAS HIPPIE COALITION: "Peacemaker"

Rating: RRR
Label: HeadFirstEntertainment 2013
Review by: Urban "Wally" Wallstrom
Texas Hippie Coalition may seem to have suffered bats and knives from folks who have decided that a bunch of rednecks from the George Bush JR and SR state, can't possibly be for real or any good for that matter. Yours truly are still not sure about what exactly they're trying to sell us, you know, considering the awful moniker and their outlaw agenda. And to name your latest album after the old revolver, "Peacemaker", oh the irony, the irony.

Nontheless, musically they have arguably far more to offer than your average outlaw act. Their own patended - Red Dirt Metal - in reality the wicked mixture of Pantera, Black Label Society, and Lynyrd Skynyrd, ZZ Top. Armed with guitars, cars, cowboy boots/hats, booze and tattoos, this is about as Southern-fried as chicken and/or any insane schmuck at death row.

What makes several tracks (Hands Up, Damn You To Hell, Wicked, Sex & Drugs & Rock and Roll) so good is that they sound like they came together effortlessly and simply through playing the old Pantera riffing (take a bow, Wes Wallace) and let Big Dad Ritch rip behind the microphone. It's hardly rocket science. Ultra thick, crunchy metal, and heavy as funk, producer Bob Marlette (Black Sabbath, Alice Cooper, etc.) manage to get the best out of the band. very decent indeed.
http://www.texashippiecoalition.com