KICK THE WICKED "

 

(c) 2022 Gemini Rising Records

1. Spit It Out
2. Mr. Know It All
3. Blinded By The Lie
4. Free Me
5. The Journey

Mark Lanoue--Lead Vocals, Guitars

Scott Campbell--Rhythm Guitar, Bass Guitar, Keys

Rory Faciane--Drums

Do you know what a drag magnet is?  If not, a drag magnet is a device...specifically, a magnet...that you attach to a long rope or cable, and then drag along the bottom of a lake, river, or even the sea, retrieving whatever sticks.  My family was given the chance to do some "drag magnet fishing" in the summer of 2022 down in the swamps outside New Orleans.  It was a blast, as we never knew what we would find, and the results always tended to be interesting!

In this case, Drag Magnet is the debut EP from Kick The Wicked is the side project of Fiction Syxx lead vocalist, Mark Lanoue, and drummer Rory Faciane, that was started during the pandemic summer as a covers project.  Originally designed as an outlet for the guys to play music from artists that have influenced them through the years, Kick The Wicked eventually developed into a creative project with new songs that took on a style and sound of their own, separating themselves from what Lanoue and Faciane do with Fiction Syxx.  And trust me when I say there is a drag magnet's collection of styles and sounds to be found in just these five songs!

For those who may somehow have missed them, Fiction Syxx is a phenomenally talented melodic, progressive metal band that truly deserves far more recognition from the metal world than they have seemingly received.  Having been a fan of that band since their first album, I was extremely excited when Lanoue, whom I have known on-line for quite some time, told me about this new project.

Let me start by saying that Kick The Wicked is NOT a retread of Fiction Syxx.  The song structures...heck, the song styles in general, are not the sweeping, epic progressive metal work that Fiction Syxx has perfected.  All five tracks here are shorter and more straight-forward, in your face rock/metal than what you get with Fiction Syxx.  And that's a good thing; there's no need for two bands doing the same thing with some of the same members. 

The EP kicks off with the chunky, aggressive "Spit It Out", a metallic, rhythm guitar-driven rocker that immediately draws a line of definition between Lanoue's and Faciane's two bands.  Don't look for any big, sweeping guitar flourishes or massive keyboard runs here, as that is not the style here.  Still, the vocals of Lanoue, particularly on the chorus section where they are expertly layered, do add a melodic element to this opening track, which also features a scorching lead solo from Lanoue that truly needs to be heard to be believed.  The man flat out rips here!    The interplay between Lanoue's leads and Campbell's rhythm playing is superb, and Drag Magnet is off and running!

"Mr. Know It All" starts with a fat bass line rumbling over some intense work from Faciane, settling into a heavy, grinding modern rock groove, with Campbell's rhythm guitars just chewing through the verse sections, guiding Lanoue's lower-registered sneering vocals, which elevate in tone a bit on the chorus sections, which find Lanoue doing more singing than snarling.  There's a swirling lead guitar section in both the solo section and the outro portion of the song, and I really, really like the interplay of vocal styles, which remind me of some of the things I liked best about the heavy alternative/grunge era, but with more modern rock production on the guitars.

"Blinded By The Lie" is up next, and that hard 90s alternative feel is definitely a big part of the song's personality on the intro, as it sounds like a darker, edgier...and somehow still more melodic...version of the groove that 90s rockers, Local H, achieved with "Bound For The Floor".  The similarities stop there, however, as Lanoue's vocals are given a chance to soar on this track that drags a bit of the darker New Wave sound of the 80s into the track, while also still pushing a strong rhythm guitar line and some really top-notch kit work from Faciane.  As odd as that mixture may sound when I write it out, trust me, it works perfectly here, and "Blinded..." would be my favorite track on this project were it not for the album's closer (more in just a minute).

So, what's left for these guys to toy around with?  Oh, you want some funk, you say?  Well, "Free Me" is definitely what you have been looking for, as the band continues with that 90s hard alternative sound, but mix in a funky bass line and drum pattern, along with an unmistakably 70s synth line, and some cool guitar riffing that gives this track a vibe unlike anything else on the EP.  Lanoue's vocals actually take on a Geoff Tate vibe in places here, particularly on the chorus sections, and the guitar solo, this time courtesy of Campbell, is a trippy take on the type of high speed stuff Paul Gilbert uses from time to time with Mr. Big.    

"The Journey" slows things down to close the EP out, and it is here that Kick The Wicked comes closest to showing their Fiction Syxx connection, as far as the more progressive style of the track.  For me, however, the track sounds more like some of the moodier Queensryche material from the album Promised Land.  Lanoue is an absolute BEAST of a vocalist, and "The Journey" showcases some of the strongest work he has put forth, regardless of the project, and his Tate influences are heavily felt here.  The layered backing vocals are done superbly well here, and the guitar work is exquisite.  This is the kind of material that really sets Fiction Syxx, and here, Kick The Wicked, apart from so many of their peers.  The songwriting is truly remarkable, as there are so many moving parts that these three guys...just THREE guys...manage to fine tune into a well-oiled machine.  It is a guarantee that part of the reason it took me so long to write this review was because I kept putting "The Journey" on repeat.  Do yourself a favor, get the best set of speakers you can find, or a really top-of-the-line set of noise cancelling headphones, and put "The Journey" on; you will hear so many more elements mixed into this tremendous track than you likely thought possible, and Lanoue's vocals, in particular, take on a depth and power beyond what you might glean from just a casual listen.  To say I love this song would be a MASSIVE understatement!

The production is great, the musicians here are all at the top of their game, the songwriting is all over the place, stylistically, but always top-shelf as far as song structure and construction, and the vocals outshine those of so many other bands that cross my desk or enter my mailbox.  Other than the fact that it is only 5 tracks long, I really have nothing negative to say about Drag Magnet.  Available on Spotify and anywhere you stream or buy digital music, there is no excuse for you to miss out on this killer EP.  

Oh...and while not part of Drag Magnet, do yourself a favor and snag the band's brand new single, "Firefly", while you are seeking out the EP.  Haunting and Floyd-ish in it's stylings, especially at the outset of the track, "Firefly" is the next step in what I hope is the continuing journey of Kick The Wicked.  Lanoue stretches his lower-range Tate vocals on this hard, progressive rocker which features another smoldering solo from Campbell.  Oh...and don't let the false finish fool you; stick around for the ending!  Check it out...

Rating:  An excellent little slab of melodic hard rock, with some metallic and alternative undertones!  Crank this to 8.5, with it's brevity one of the few marks against it!

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THEORY OF A DEADMAN "Dinosaur"

 

(c) 2023 Roadrunner

1. Dinosaur
2. Medusa (Stone)
3. Sick
4. Two Of Us (Stuck)
5. Ambulance
6. Sideways
7. Get In Line
8. Head In The Clouds
9. Hearts Too Wild
10. Summer Song

Tyler Connolly--Lead Vocals, Lead and Rhythm Guitar, Piano

Dave Brenner--Lead and Rhythm Guitars, Backing Vocals

Dean Back--Bass, Backing Vocals

Joey Dandeneau--Drums, Backing Vocals

They are back!  Theory Of A Deadman, easily one of my favorite rock bands of the past couple of decades are back with a new album, Dinosaur, and back with...their old style?  Longtime fans of the band will know exactly what I am talking about, as the band kind of swerved away from what they do best, which is thrown down some seriously snarky, seriously fun, post-breakup party rock.  On their previous two releases, 2017's Wake Up Call (you know, the one where they even changed their name to just "Theory"), and 2020's Say Nothing (which, ironically, DID nothing for most people),the band started incorporating some more pop styles and using a lot of programmed elements in their sound.  Outside of a couple of hits (the massively popular "Rx" from Wake Up Call, and the angry "History Of Violence" from Say Nothing) these albums generally left fans wanting and wondering what happened to their boys!

Well, wonder no more, gang, because the Canadian rockers have returned pretty much full-throttle to their old way.  Sure, there are a few quirks thrown in for good measure, but this is Theory Of A Deadman; they never do things the easy or straight way, right?

The album's title track kicks things off with a lot of what T.O.A.D. does best--big guitar riffs, big drums, and Connolly's tongue planted firmly in cheek--with this rollicking rocker.  I had the chance to see the band on the Rock Resurrection Tour a couple of weeks ago in Omaha (along with St. Asonia and headliners, Skillet), and the band opened the show with this track, with the audience slamming around and throwing their fists in the air as they chanted along to the song's "Hey! Kids!  Boys and Girls!" line.  Naturally, in typical Connolly fashion, a couple of F*bombs have to be cleaned up for terrestrial radio play, but it is instantly apparent this is the Theory Of A Deadman that fans, such as myself, have been waiting for for a couple of albums now.  They even found time to make a humorous video for the track.

"Medusa (Stone)" keeps the snarky rock rolling, reminding me quite a bit stylistically of one of the few great T.O.A.D. songs of the past few years, "Strait Jacket".  Lyrically, this is what Theory Of A Deadman has always done--taken one of life's low points and turned it into an instantly relatable rocker.  In this case, the low point is the song's protagonist falling in love with the wrong girl (Medusa), who gets him addicted to pills, turns our nice guy hero into a bad boy, then breaks his heart.  More of a mid-temp rocker than, say, "Bad Girlfriend" or "Hate My Life", but the chunky rock is all there!

"Sick" is another throwback to old-school Theory Of A Deadman, at least in its lyrical approach and attitude.  Similar to "Hate My Life" where Connolly starts things off by being being "so sick of the hobos always begging for change", this new song finds even more things for the singer to be sick of, declaring of his girl's social media addiction, "I'm so sick of the way what you say is so insane" and "sick of the face that you put on every day", finally declaring "I'm so sick of you, you must be sick of you, too."  Musically, it's an interesting mix of alternative, Weezer-ish sounding chords, especially on the verse sections, with a bit more aggressive chorus sections.  If it sounds out of the norm for Theory, well, it is, but unlike the weak pop-leanings of a lot of the last couple of albums, "Sick" still works in a fun way, largely because the band isn't taking themselves too seriously while experimenting with something new.

"Two Of Us (Stuck)" largely misses for me (my wife loves it), as it slows things way down and takes the original 1980 hit "Just The Two Of Us", and gives it a Theory Of A Deadman twist, turning it into a song about a dark relationship that won't work.  It's not that I don't appreciate the humor in what Connolly does here, it's just that it's kind of disruptive to the flow of the album and is unnecessary with so many other really good tracks.  It's possible my opinion means little to nothing, however, as the crowd seemed to appreciate it in the live setting.  Oh well...it's why the skip button was invented, correct?

Speaking of correcting things, that is exactly what "Ambulance" does next.  A repetitive guitar riff opens the track, with the expected ambulance siren screaming in over the top of it before the whole band kicks their way into the mix with a bottom-heavy roar that threatens to blow the speakers out of the doors.  Connolly adopts a rap-rock-lite approach on the verse sections that, again, are pure Theory in approach:  "Rolling to the club, got my boomstick.  Exes heading out the back with their broomsticks."  That big, churning rhythm riff returns on the chorus section to drive this uber-fun party rock track before giving way to the simplified verse section in a heavy-relaxed-heavy-relaxed trade-off that gets a bit funky in spots. Definitely one of the high points of a really strong record.

"Sideways" is a mid-tempo number that Connolly drops some nice piano work into.  The typical Theory subject of a broken relationship is actually given a serious treatment here, as the song is about a breakup that the singer is actually not okay with...and it works.  Connolly has always been able to add a good dollop of emotion to his lyrics when he chooses to, and "Sideways" is a perfect example of one of those times.  

"Get In Line" returns things to hard-rocking mode for the band with a vicious hook and so-simple-it's catchy chorus, and does exactly what it is supposed to do...gets you up and slamming around!  "Head In The Clouds" is a charming, mid-tempo, feel-good rocker that has a bit of a modern country bent to it without going full-Nashville.  "Hearts Too Wild" also has something of a country tinge to its musical coloring, but it's catchy enough that it works pretty darn well and has that top-down, Summer cruising kind of feel to it.

Fear not, folks, as Theory Of A Deadman knows exactly why you are here, and they deliver with the rollicking album-closer, "Summer Song".  Nope...not a song about Summer, the season, but a song about Summer, the wild party girl who is the obsession of the lead singer.  Things start out great for the couple, but by the end of the track, the protagonist realizes he has forsaken his friends and everything he loved to do all for the sake of Summer, adding in that elemental twist that you've come to expect from Theory Of A Deadman.

Look, the guys don't reinvent rock here, nor do they try to.  They just do what they've (mostly) always done, which is examine life through the eyes of a blue-collared, Average Joe, who loves to party, hates his job, loves his woman...until she wants to kill him (or he wants to kill her)...and just wants to throw down at a good old rock n roll show every now and then.  Dinosaur is a strong, expletive-filled return to what the boys have been doing pretty much non-stop since they hit the scene in 2002, and certainly since their breakthrough albums Gasoline and Scars & Souvenirs.  It's not high-brow, better-than-you rock; this is music that is open to anyone and everyone that wants to party along with the band!  

Rating:  Dinosaur returns the Canadians to crankable territory, with their best album since Savages!  Crank this to 8.

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ROYAL BLISS "Survival"

 

(c) 2023 Air Castle Records

1. We Rise
2. Black Rhino
3. Medication
4. Goodbye Love Song
5. Never
6. Full Moon Rising
7. Ritalin
8. Burn It Down
9. Chasing Stars
10. Fire Within
11. Fight Another Day
12. Lead The Way

Neal Middleton--Lead Vocals

Taylor Richards--Guitar

Brian Hennesy--Bass

Jake Smith--Drums, Percussion

Additional Musicians

Shim--Vocals on "Medication"

At long last Royal Bliss has released a new album!  It was 2019 when the band released their previous self-titled album, and 2020 when they released the digital only, quasi-Christmas EP, Our Favorite Things , so while I may not have been a decade or anything, for Royal Bliss fans, it has been a long time since we had something new to pop into our CD players!  

Of course, the band has been keeping fans somewhat sated with the release of multiple singles over the past couple of years, most of which find their way onto Survival.  For example, the full tilt, angst-driven rocker, "Medication", came out in the Covid Summer of 2020.  Featuring SHIM, formerly of Sick Puppies, this track garnered national attention for Royal Bliss, charting Top 20 on the Billboard/Mediabase Radio Chart.  Doesn't ring a bell?  Here...let me help you out...

"Black Rhino" was also previously released in late 2022, also finding some success and charting Top 25 on that same Billboard/Mediabase Radio chart.  Definitely one of my favorite tracks on the album, "Black Rhino" springs to life with a catchy guitar riff from Richards and some high-octane drum work from Smith before the gritty, weathered vocals of Middleton work their way into the mix.  His edgy snarl on the chorus section is absolutely perfect for the urgency of the track, and the rumbling bass work from Hennesy keeps the song bounding forward, paving the way for Richards to grind away on rhythm guitar.  Definitely one of my favorite Royal Bliss tracks of the past few releases.  Check it out...

Truly dedicated Royal Bliss fans will also recognize one of my absolute favorite Bliss songs ever, "The Fire Within".  No, you won't find it on any of their previous studio efforts, but if you managed to snag the limited run live album, Live @ Rigby Road, from 2017, then you likely heard and fell in love with this song right off the bat.  A powerful mid-tempo number, "The Fire Within" really allows Middleton to shine as his vocals soar, especially on the uplifting chorus about making one's way in the world.  Interestingly, the band made a studio-version video for this track about a year ago, so obviously they have had this track around for some time and just never found the album to put it on.  So glad they included it here!

And, if you've been following the band on Facebook, you also know they have already released the song "Full Moon Rising", as well, and released an official lyric video for this mid-tempo rocker a couple of months ago.  Again, an excellent track that packs a wallop on the chorus section, while playing things a bit more sparse on the verse portions of the track, really allowing Middleton room to work his vocal magic.  I love the rhythm that Smith uses on this track, simple-but-snappy, and Richards' solo, while not flashy, is soulful and reflective of the rest of the track.  This is the type of song that Royal Bliss does best, in my mind, that punchy mid-tempo groove rocker that has a big, sing-along chorus and a catchy hook that makes you swear you have heard the track before...even though you know you haven't.  Check it out below...

 

So enough with the songs you've probably...hopefully...heard, what about the rest?  Things get kicked off in fine fashion with album opener, "We Rise", a full-throated rocker that really sets the tone for the record.  A slow build, with some fuzzed-up guitars lead the way in, with Smith setting the tempo and Hennesy rumbling right along with him, as Middleton is on a slow burn through the first verse before exploding with the driving chorus section.  The second verse has some layered vocals helping Middleton along to the next chorus, followed by a great guitar solo from Richards, who never fails to keep me guessing as to what type of tone he is going to employ.  Here he uses a bit of a retro-tuned sound that sets itself apart from the rest of the modern rock track without being a distraction.  

"Goodbye Love Song" is one of the greatest kiss-off tracks I've heard in some time!  I'm not positive it has been released as an official single, but there is a lyric video to this track, so see what you think...

"Never" is up next and is the first time the listener really gets a chance to fully catch their breath.  The haunting echo of Middleton's voice and the mournful tone of Richards' guitar carry the entirety of the first verse, with a simple drum line and something of a walking bass line joining in on verse two.  Things build on the second run through what passes as a chorus here, although its not your typical repetitive chorus that runs throughout the track.  A short solo from Richards brings the song back to another partial chorus run before the track fades out.  The construction of the song is a bit different, but I dig it, and I think most people can get behind the message of the song.

After "Full Moon Rising" builds the pace back up just a bit, things get fully aggressive again with the punkish "Ritalin" which finds Middleton about as angry as I have ever heard him, especially on the barked verse sections.  The chorus has some melodic elements to it, but make no mistake, this is an angry rocker that will threaten to break out in a mosh pit, which I don't know if I have ever seen at a Royal Bliss show.  Could be interesting!

"Burn It Down" brings the pace back down a bit, and this is, again, one of those songs that Royal Bliss just does so well.  My son told me the other day that this sounds like summer driving music, and I couldn't agree more with his assessment.  The whole song is just a smooth, mid-tempo number with some great, layered vocals on the chorus section, and more of the heartfelt work fans are accustomed to hearing Middleton weave through a song.  I really hope this is a concert track, because I want to get the full live effect of this song.  Love it!

"Chasing Stars" teases at slowing back down just a bit, but Smith has some big, pounding drums that betray those thoughts, and we are treated to yet another soaring mid-tempo rocker that is this band's calling card.  Just such great songwriting on display here! 

The same can be said of the powerful "Live To Fight Another Day", another potent mid-tempo rocker that features some cool rhythm changes in the drum patterns between verse and chorus, and a guitar solo section that borders on becoming a breakdown of sorts.  The backing vocals are used extremely well once again, and the overall feel of this song is uplifting and positive, even though the subject matter sounds like it could be bitter.  Live to fight another day; great words to live by in any situation.

The album's closer is a bit of an oddity as far as song structure goes.  The tempo is kicked up just a bit, especially on the chorus sections, and there is just something about the tune that sounds quirky yet catchy.  I can hear the crowds singing along to the chorus in a live setting, and I can envision the band just going off while performing this hard-hitting song.  I can understand why it is at the end of the album, as it doesn't fit pretty much anything else, style-wise, and it feels like it could have come from an earlier album, like Waiting Out The Storm or Chasing The Sun.  Don't think for a second that I'm saying something negative here, by the way, as those are two of my favorite, most-played albums of the past 25 years, no question.

I'll be honest, I'm surprised--and also glad--that the band didn't include one of the numerous cover songs they worked up during the pandemic lockdown time they had to spend off the road.  While I love the tunes, and maybe they will surface on a covers album all its own at some point, this is a band that is so talented as performers and songwriters that they really don't need to do other people's music.  

It is always amazing to me that more people don't know who Royal Bliss is, as this band is simply one of the best rock bands out there today, in my not-so-humble opinion.  Great guys to meet, excellent if you get to see them live, and always engaging with their fans on Facebook and other social media, Royal Bliss deserves to be much bigger than the couple of run-ins with fame they have had over the years.  Do yourself a favor and seek them out if they come anywhere remotely near you (I'm planning to head to Lincoln, NE in just a few weeks to see them play), and by all means, snag yourself a copy of this killer new album!  Survival has something for every fan of the band and something for nearly any type of rock fan.  While you're at it, grab a couple of their older albums as well and see what I have been preaching about for nearly a decade now!

Rating:  Oh, so crankable!  Royal Bliss continues to deliver some of the most powerful, soulful rock n roll on the planet!  Crank this to a 9 and prepare to hit repeat...often!

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