From the "Glitter" of arena rock and hair metal to the "Gutter" of thrash, sleaze, and grunge...and pretty much anything that ROCKS...we review it all!
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Everyone's favorite Norwegian band, Razorbats, returns with a brand new single and video, "Little Miss Crazy". Following up last year's "White Trash Radio", "Little Miss Crazy" is the latest tease from the band's upcoming album, Mainline Rock N Roll, which is set for an April 9th release on Rob Mules Records. Band founder and guitarist Kjetil F. Wevling (he keeps the "F" in there so you don't confuse him with all the other Kjetil Wevling's out there...) told me the band is "proud of the album" which will feature re-recordings of "White Trash Radio" and "The City" (previously recorded for a split-EP with The Sick Things), as well as 8 new songs, including "Little Miss Crazy". This latest track is a moody rocker with a cool opening guitar riff and an undeniably catchy chorus that grabs the listener from the first spin. "Why are the cutest ones always insane?" Vercouteren asks when singing about his "Swan in a pond of doves". The straight-forward, somewhat sparse nature of the track and its production really allows the song to take on a haunting feel, and nothing here comes off as forced or over-produced. Hervig's bass is given a strong voice throughout the track, and a smooth, soulful guitar solo from Wevling is pure ear candy that is really set off from the simple acoustic guitar riff that runs throughout the track. Vercouteren is absolutely spot-on with his vocals here, and some female backing vocals thrown in at the end really serve to add to the unique feel of this great new tune.
According to the press release for the track, the song "is about a normie who falls in love with a free-spirited rock chick. Of course, he doesn't really understand her, and he starts thinking maybe there's something wrong with her." After watching the video, I asked Wevling specifically about his performance, which finds him at all times being recorded in a mirror. "We tried to make the most of the rooms we filmed in, and give each guy a different look. One of the camera guys suggested it. In addition to just looking cool, it can be a metaphor for how we see ourselves as a reflection of how other people see and treat us. But mainly it just looks good!" Check it out for yourself below...
And, since it has been so long since the last Razorbats album, I have thrown in the videos for their last two singles, as well, both of which are slated to appear on the new album!
Just to whet your appetite, here is "The City"...
...and the super-fun "White Trash Radio"...
All I know is that April can't come soon enough for this guy, as it has been a LONG TIME since the last full album from these guys, so Mainline Rock N Roll is definitely on my must have list for 2021!
Rating: As per usual, I don't rate singles, but suffice it to say if you liked the moody material Razorbats released previously..."Desolation Highway", "Sister Siberia", "Born In The Fast Lane"...you will love "Little Miss Crazy" as well!
Hailing from Buenos Aries, Argentina, Gunner is a retro-styled melodic rock band with a definite flair for all things 80s. I mean, seriously, check out the cover of the album! If I didn't know better, I'd swear I have that vinyl stashed in a box of stuff from high school in my garage somewhere. But don't mistake these guys for being hair metal, because they are not. Think more along the lines of the mid-80s, pre-Hollywood takeover days. Think EARLY Dokken, EARLY Ratt, even hints of Y&T and Keel in places. Lion would be a good comparison band, as well. Same with Icon. Stuff I like to call "power rock"...not quite metal, but definitely punchier than hair metal. The band has been together for over 15 years now, and this is not their first album, I am told, just their first for Lion's Pride Music. And how does it fare? I guess that all depends upon what you are looking for from these five South American rockers.
First off, the songs are actually pretty solid all the way through. The majority of them remind me of the harder-edged material some bands would record to have placed on those classic 80s action flick movie soundtracks. You know, killer guitar solos and hard-charging tempos and rhythms, usually wrapped around some inspiring chorus or something, but typically not radio single material. That is pretty much every song here...and while some of them are excellent songs, a few wind up in the "fun but not really memorable" category.
On the excellent side, we have tracks like "Searching For Victims", a big, brilliant 80s movie anthem if I ever heard one! The guitars scream with a big, fret-running solo from the sensational Bugallo tearing a trench through the song, the drums are big and aggressive, the backing vocals are in great form, and the lead vocals from...well, I'm just going to call him Oscar rather than type out Muguertegui any number of times....are edgy and delivered with conviction. Heck, even the song title has attitude! "Faster Than Lightning" is another great, great action flick track! Thundering drums, a massive...and LONG...guitar solo from the uber-talented Bugallo, big, gang "whoa-oh-oh" backing vocals, and a really solid lead vocal from Oscar. "Sunset Kiss" is another excellent 80s flashback through and through, complete with the edgy radio-rock guitars and unmistakable keyboards that hearken back to the summer nights of my teenage years! And, as is really a trend on this record, Bugallo absolutely dominates with another smoking solo that absolutely nails the style and sound of the era. This guy has MAJOR skills, folks! His soloing abilities alone are worth hunting this record down! Here is a livestream video the guys did for "Sunset Kiss" during the Covid shutdown...
For more from Bugallo, simply check out the intro work on "Begging Love" for yet another example of that stunning skill, followed by some era-appropriate rhythm work and yet another top-shelf solo that finds Bugallo pulling out all the tricks! And even when things slow down a bit, such as on the more mid-tempo romper "Liar", the band has plenty of heft in the right places, and the bass work from Carabajal really jumps out at the listener. "Street Kid" takes us back to that action flick feel, with a really gritty guitar setting the tone right from the start, and I can see the song's titular down-on-his-luck character jumping rope or working a speed bag as he puts in his time to get his title shot! Or maybe he was a loner and his Army dad was kidnapped and the kid has to find his inner-hero and hijack a helicopter so he can go rescue his father! Yeah! You can come up with your own scenario; Bugallo and his pals will provide the soundtrack for it, with another excellent solo, gang-shouted chorus vocals, and a solid rhythm section driving the song along perfectly. "Stay Strong" closes the record in excellent fashion, with the mid-tempo rocker firing on cylinders musically, and the perfectly-titled (for an 80s action flick) track is definitely a top 3 or 4 song on the entire album. "Cold Nights" is another slower track, definitely carrying a plodding tempo, but Carabajal's bass again gets to rumble and Bugallo is afforded the opportunity to showcase a different style of playing here than on the flash and fire solos of the up-tempo material.
This is not a perfect record, however, but rarely does Back 4 More just completely blow it for me. In a couple of spots, it's just one little thing that will hold a track back from being all it could be. Maybe it's the vocals, maybe it's the mix, but something is a tiny bit off somewhere. The opening track and title cut, "Back For More" is a perfect example. The track starts with a muscle car's engine roaring to life, and the guitars come blazing out of the gates, but Oscar's vocals really sound strained to hit the higher end notes here, even pulling him a bit off-key in places, and his accent is really noticeable here. Check it out and see if you agree....
The previously mentioned "Cold Nights", "Street Kid" and even the excellent "Searching For Victims" are also victims to this to varying degrees. Again, they are far from ruined, but I wish the producer would have gotten another take or two on a couple of lines to strengthen what I think are some of the best tracks here. I want to state for the record that even when he is a bit off, Oscar's husky, lower-tenor is perfect for this band and the style of songs they present here, and he projects a power across the majority of these tracks that is a key element to them being pulled off as well as they are.
There is one track on Back 4 More that NOTHING could save, not even flawless vocals from Oscar, or Bugallo delivering the most soaring guitar performance in the history of 80s power rock. There is absolutely nothing that would save "Delilah". Seriously, if there is one track that really shouldn't have been included, "Delilah" would get the axe...and I wouldn't sharpen that axe. I would leave it dull so the song could feel every painful swing I took to rend it from this album's track list! This track is so sugary, so stomach-churningly saccharine sounding, that my ears feel like they are dripping syrup by the time the five minute long ballad oozes to an end. Again, this is one of those tracks where Oscar's vocals are just a bit off, and I think it comes from him just trying too hard to spread the frosting-thick emotion across the track. There are too many tinkling keys and even Bugallo's solo can't save this song from the ooey-gooey mess that it creates for itself. When I burned Back 4 More to CD so I could listen to in my truck during my work commute, I left this track completely off and I skip it every time it pops up on my computer.
"Dangerous Eyes" is a decent rocker, but for some reason it doesn't really connect with me the way most of the tracks do here. The mix seems a bit muddy in the verse sections and Oscar is really hard to understand in places (more on this in a minute), which detracts from the overall feel of the song. Additionally, the keyboard flourishes are too out front for me and they really draw the attention away from the overall feel of the song. It's not a terrible song, I suppose, and Bugallo drops a nice solo on the listener, but this song is definitely one that I would have considered trimming if it was required for time constraint reasons.
The only other track I really don't care for all that much is "Thrilling Dream", which is almost TOO 80s for its own good. Rather than an action flick track, this song reminds me of something that ends up on a Michael J. Fox movie soundtrack, like Secret Of My Success or something, as the "rock track" among a bunch of New Wave tunes. The keys are too out front and too dominant for my liking, and the fact that a keyboard SOLO cuts into Bugallo's six-string time...well, little can be done to forgive that!
Overall, this is a really enjoyable project for me, even after numerous listens, and even if there isn't anything new about it. In fact, what you think of the record is going to largely depend upon how you feel about pure nostalgia trips, which is exactly what Back 4 More is. There is literally nothing about this record that comes off as modern, from the performances to the writing style to the production. And if that is what you are after, you are going to love this record! But, if you are looking for retro-based music that incorporates the latest production tricks and styles, you will likely be a bit disappointed, even as you listen slack-jawed to the skill of these guys (particularly Bugallo).
For me, it is really hard to not love what these guys are doing and the passion they obviously have for what they are doing. There are a couple of minor missteps, and nothing here screams "hit single", either in 1985 or in present day 2021, but Gunner delivers exactly what I think they were after, which is well-executed, fun, bombastic mid-80s power rock that never drifts into the glammy or hairy side of the Hollywood hairspray scene.
Rating: I'd say Rock this to 6.5 every time you put it on, and minus a couple of tracks in the last half of the record, it may even become a crankable 7! It's not perfect, but it is definitely fun! I think I also will be seeking out Gunner's older material (I believe they were called Gunner Sixx at that time).
There have been a slew of great releases already in 2021, and it is only January! Not that I am complaining, because I am most definitely not. In fact, it makes me hopeful that 2021 is going to be one of those magical years we look back on in a couple of decades, much the way that people fondly recall years like 1986 and 1988. And while there is still a LOT of year to go, 2021 is shaping up to be pretty special.
One of the records that I would say has to be considered as being at the forefront of this new year is Locked & Loaded, the lastest effort from the Voodoo Circle. For the uninitiated, Voodoo Circle is the brainchild of axe-slinger extraordinaire, Alex Beyrodt, who has an uncanny feel for the classic heavy bluesy-and-ballsy rock that legends such as Deep Purple, Rainbow, Led Zeppelin, and Whitesnake are synonymous with. Unlike so many of today's "un-Ledded" clone bands, however, Voodoo Circle understands that being a soundalike is not enough; you have to have a passion for the music, the chops to perform at a high level, the songs to showcase that talent! Fortunately, Voodoo Circle has proven time and again that they have all three requirements in spades!
On Locked & Loaded, frontman David Readman returns to the fold after stepping away for a couple of records, and the entire line-up from 2011's Broken Heart Syndrome record is reformed, which has stoked a lot of anticipation among fans of the band. And while the previous efforts were still fine records, Readman's return serves to complete the package, in my opinion, as his vocals are a huge part of what drew me to this band in the first place. This is immediately evident with album opener, "Flesh & Bone", which is about as perfect a beginning to an album as one could hope for, showcasing a tight band that sounds as if it hasn't missed a step despite not playing together as a unit for nearly a full decade! Snarling guitars and big, arena-styled drums kick this high-energy rocker into gear and never look back, blazing a hard rocking path for four solid minutes that will have the listener immediately transported back in time to an era where this type of anthemic rock was the standard and not the exception! Clearly pulling influence from Whitesnake and Deep Purple, this is a scorching example of Voodoo Circle at their finest musically. Throw David Readman's massive vocals into the mix, and you have a song that is almost guaranteed to be the set-opener for the band in upcoming live shows.
I have long professed to NOT be a particularly big fan of Led Zeppelin, yet I love so many of the bands that Zeppelin inspired. While a lot of people point to bands like Kingdom Come, the best or me would be Bonham, whose Disregard For Timekeeping is an absolute go-to album for me. I have played that particular album hundreds, if not thousands of times, and continually go back to it even today. For those who are fans of that band, "Wasting Time" is going to be an instant come-hither track, as the intro and the tempo are so much like Bonham's "Wait For You" that it is almost eerie. No, it is definitely not the same song, but the sultry swagger, the "Kashmir" accents to the music, and the approach to the vocals are every bit as addictive as those from "Wait For You". "Wasting Time" has a HUGE guitar solo, complete with speedy fret-runs and blistering picking, yet it somehow still fits the track. I've hit repeat so many times on this track that it's a minor miracle the button still works, to be honest, and "Wasting Time" is easily the most-played track of this very young year so far.
"Magic Woman Chile" continues that Middle-Eastern/Indian vibe, especially with the backing vocals and the rhythm and tempo, and once again, comparisons to Led Zeppelin are going to be impossible to avoid. Vocally, Readman is more controlled and somewhat lower in pitch than Plant typically was a lot of the time, but the delivery style on this track (and "Wasting Time" for that matter) is a dead-ringer in places and serves to enhance the track all that much more. The solo from Beyrodt here is a wicked one, and this is a powerful, guitar-driven rocker of the highest order.
Title track and single "Locked & Loaded" continues with the punchy, 80s-inspired blues-rock stylings that will likely have David Coverdale on the phone seeing if he can recruit Beyrodt and company for his next record! Utilizing some horn-sounding keyboards as an enhancement, a catchy "big, boom, bam, here for you mama!" vocal refrain, and an insanely simple-and-singable chorus, "Locked & Loaded" is almost guaranteed to become a fan favorite in the live setting (once we get back to live settings)! Naturally, Beyrodt rips into yet another huge solo, but for me, it is Readman who is the real centerpiece on this track, as he is able to track up and down his powerful range throughout the song and he sounds particularly strong here, adding and subtracting a bit of snarl as needed. Really, really loving this track.
For the Whitesnake fans, the comparisons on a couple of tracks are going to be immediate and intense. "Devil With An Angel's Smile" is an uber-catchy, bluesy riff rocker with a huge hook and some great backing vocals, and gritty rocker "Straight From The Heart" has a killer "Bad Boys"-styled intro riff that would have Coverdale doing a double-take to make sure Whitesnake wasn't performing without him! But perhaps it is the big power ballad, "Eyes Full Of Tears", which finds Readman in full-Coverdale worship mode, that has the biggest connection with Whitesake's self-titled masterpiece from 1987...which was also considered to be a rip-off/clone effort in its own right. And while I get it...in both cases...I also disagree with the assertion in both cases. Sure, there are a lot of similarities in style and approach, but as I stated at the opening of this review, without the ability to write the songs and the ability to then pull them off, none of the comparisons would be made.
The intro to "Devil's Cross" is a bit of a slip for me with its dated, 80s keyboards, but once the guitars and Readman's vocals hit, all is quickly forgiven and forgotten. A bump-and-grind, mid-tempo groove
worms its way through this track that is another one that fights for repeat time from me. Readman adds the smoky snarl back to his vocals, further enhancing the ultra-cool vibe. If there is a video made for this track at some point, I would fully expect a nighttime shoot with a Tawny Kitaen look-alike shaking her money maker down on a dock somewhere, bumping and grinding along with the solo that Beyrodt carves through the mid-section of the track. In fact, Beyrodt's axe is given more time to really shine here than on most of the other songs, as there is some serious riffage going on for the last couple of minutes, with the solo and then the outro work that flows under the last runs through the chorus section really putting Beyrodt's talent on full display. Love it!
"Trouble In The Moonlight" speeds things back up a bit with some nifty double kick drum work and yet another smoking string melter from Beyrodt, before the deep blues approach of "This Song Is For You" slows things WAY down. Opening with a lyric straight from Prince's "Purple Rain", ("Never meant to cause you any sorrow...never meant to cause you any pain...."), "This Song Is For You" is pure soul-searing pain set to music, and Beyrodt proves beyond a shadow of any doubt that he has a feel for this type of playing. For that matter, he and Readman may want to consider a project of just this style of blues rock, devoid of the pomp and hair of the arena rock that tinges every song here, this is just smoldering blues rock at its finest, with both men delivering some of the best performances on the entire album.
The record closes with a rollicking, galloping rocker in "Children Of The Revolution" that wraps the record right back around to where it started, with hard-edged, blues-based arena riff rock of the highest order. A great way to end a great record that long-time fans of the band will immediately begin comparing with the best the band has ever released, I have little doubt.
With Readman back in the fold on vocals, with Sinner providing the solid bass work he has always been noted for, and with Kullman's unheralded work behind the kit, Beyrodt has the freedom to unleash on every track here, putting together what is in my estimation the best record that Voodoo Circle has released to date...which is saying something considering the greatness of the first few records. Beyrodt plays with an unbridled passion on every track here, and I have read he used multiple different guitars on various songs to get exactly the tone he was looking for, which seems to have paid dividends here, as this is a guitar lover's album, without question. Big hooks, powerful vocals, a retro-yet-modern sound, and amazing production all come together to help form what will likely end up being a Top 20 release of 2021, which is quite a statement in January!
Rating: The best Whitesnake album that band never released! Crank this to a definite 9! This is an EXCELLENT record!
Atlanta's Kickin Valentina has been around for a bit, now, starting with their debut EP nearly 8 years ago, and steadily building a fan base and a solid reputation as a live act. Now they return to kick off 2021 with a roar on The Revenge Of Rock featuring a slightly adjusted lineup but a familiar formula, attitude, and approach that will be a welcome distraction from this crazy world for long-time fans, and a great starting point for newcomers to the sleazy parade.
"Freakshow" kicks off the nine track The Revenge Of Rock (Nine? What an odd number...), and will likely kick off the band's live shows when those return. Pure adrenaline-fueled rock is the name of the game here, and this is a great track to introduce new vocalist, D.K. Revelle, who some may recognize from his stint in Jetboy. Pampillion lays into a killer solo on this opening track that may be the best on the entire record, and with the very first song, Kickin' Valentina is off and running!
"Somebody New" has a Sunset Strip catchiness that honestly took me by surprise when I first heard it. This is borderline radio rock material here, with a melodic factor not regularly found in KV tracks. A sing along chorus with some really strong backing vocals reinforce the fact that this is not your typical Kickin' Valentina song, but dang it if it doesn't work! Revelle's lower-ranged vocals remain gritty and dirty enough to keep you from mistaking this for something straight out of the Euro-Glam-N-Sleaze scene, as does the dirty blues guitar solo, but this is a seriously catchy track that will have more than a few people turning their heads, I am sure.
"Rat Race" ups the dirt and grit factor by ten, pouring the sleaze on in heavy doses along with edginess and anger in Revelle's vocal delivery. Aggressive rhythm riffing and straight-forward, driving drums power this rocker on in a manner that is completely unlike "Something New".
For the most part, from here on out the record drips with attitude and oozes with raunchy. I mean, this is Kickin' Valentina we're talking about! "Strange" is definitely one of the coolest, catchiest sleaze tracks to grace my player in some time, and Revelle's approach nails this track! Imagine the snarl of a slightly-less angry Lemmy and you have a good idea of where Revelle's best work is done, and he lives in this realm throughout this hook-laden rocker. There is a solid groove that powers through "Lookin' For Me", which sounds all the world to me like AC/DC and Dangerous Toys had a love child at some point, with this three-chord rocker being doused in grimy, sweaty southern sleaze, complete with sing-along chorus and a scorching guitar solo designed to rip a smoldering hole through the wall of thump that is built up by the foot-stompin' rhythm. "War" follows up nicely with another gritty, angry romp that features a simple call-and-response chorus that is going to be huge when we get to start going to live shows again!
"Heart Tattoo" is the lone slower moment on the record, and it is a good one. More of a shuffle than a ballad, this is a solid piece of songwriting that shows a slightly different side of the band. I'm not going to lie, the first thing I thought of when I heard this track was the great stuff that Hinder had to offer back in their best days of All American Nightmareand Take It To The Limit. Gritty, southern guitars, solid bass work, and simple, straight forward drums accentuate Revelle's delivery on this number that will likely have a few lighters in the air at a live show, even though we never wander into power ballad territory here. Not my favorite track, but it is a good one that I'm sure will get some repeats from fans.
"End Of The Road" returns to a bit more good-time, party rock style, and again the band makes it work in an environment that should otherwise spit out a track like this. Once again, a simple-yet-catchy chorus with really solid backing vocals set this song apart from the spit-and-snarl tracks that surround it, and the...dare I say "poppy"...rhythm and tempo make this a great song to blast with the windows rolled down as you hit the road. The guitar solo here is an all-too-short Southern romp, and Revelle's vocals are as clean as anywhere else on the record, but there is no denying that this track works well and is definitely a contender for the best stuff here, depending upon your own personal musical tendencies.
The album closes with the title track, a high-octane blast of snarling sleaze that packs quite a punch as the The Revenge Of Rock comes to a close. Gang shouted "hey hey heys" punch their way through the verses, with Crue, Zeppelin, AC/DC, KISS, The Who, Van Halen, and numerous other rockers from the past name-dropped along the way. I would have to imagine that if "Freakshow" opens up shows in the near future, "The Revenge Of Rock" would be the perfect closer to leave fans sweaty, screaming, and ready for an encore!
Nine tracks feels a bit short, and with only about 40 minutes of music on the entire album, it all goes by too quickly. But there is something to be said...a LOT to be said, honestly...about quality over quantity, and Kickin' Valentina has that ration down perfectly on The Revenge Of Rock. Short, sweet, and ready to repeat, this is an album that deserves your attention and will likely not let go of you once it sinks its teeth in! Do yourself a favor and pick it up ASAP.
Rating: A crankable sleazefest from start to finish, with a couple of hidden surprises! Crank this to 8!
Ah, the shred album! I have always been something of a sucker for a good instrumental album, especially if the guitar player is just insanely talented. Those Cacaphony discs, Friedman's early solo stuff, Michael Harris Defense Mechanizms, early Satch and Malmsteen and Vai (although he gets a bit weird for me in places)....I love that stuff, especially if I am in just the right mood. They tend to make good workout music for me, also, as I don't find myself distracted by the lyrics. Actually, that is how I came across Lynze again! I had digitally purchased Lynze a year or so ago when I first heard some samples, but after I got it, the world went wonky and I never got around to reviewing it. In fact, I honestly forgot about it until recently, with the continued expansion of my home gym (thank you, Covid!), I have been working out at home exclusively and I started going through some playlists and folders I had made for my iPod and I stumbled across this album once again. And, man, I am glad I did!
Rodrigo Bugallo is an incredibly talented multi-instrumentalist who puts his full skill on display on this insanely catchy record! Yes, from the moment "Too Fast To Stop" kicks things off, there is a lot of speed, a lot of fret tapping, a lot of hammer-ons and pull-offs and whammy-bending, but it is not all six-string masturbation going on here by a long shot! Bugallo showcases a real feel for heavy guitar writing, particularly evident on tracks like "The Vigilante", which features some deep, melodic riffing to go along with the lightning-speed solo work, or the virtuosity of "Insanity", with its mind-numbing speed balanced with slower, dramatic passages and melodic sweeps. For all of the intensity of the guitar work, the bass work from Bugallo is also worth mentioning here, as it really adds to the individual songs to have a solid foundation to build upon, especially when the drums are programmed...although they are done very well on Lynze.
If its the instrumental work that you are here to feast upon, its very hard to pick a favorite, as all are so well done, but for my money it likely comes down to two amazing tracks. "In The Cold Of The City" is a mid-paced string-bender with progressive elements thrown into the neo-classical mix. Bugallo blazes through multiple solo sections, but the overall impression of the song is a more soulful, emotionally-charged track, enhanced by interesting almost-tribal drum patterns and deep, in the pocket bass work. Bugallo truly pulls out all the stops on this amazing track. If its aggression and sheer speed you crave, then "Now Or Never" is probably going to be your song of choice, as Bugallo comes out flying from the start and never relents. Fret run after fret run blister through the speakers on this amazing piece of music, and the rhythm guitars and bass frantically charge to keep pace along with the jackhammer drum patterns. There is a brief keyboard section to allow Bugallo a moment...a BRIEF moment...to catch his breath before diving back into another long solo section, and I am left in awe of the note density ever time I hear this track...or pretty much anything on this album, to be honest. And, if it is variety you are after, you can't sleep on the Spanish guitar stylings of the album's closer, "Caballo Salvaje" ("Wild Horse" if my Spanish is correct). Yes, it is completely different from everything else here, yet it somehow is a fitting closer and really serves to showcase the overall talent of Bugallo, regardless of style.
For many, while the guitar work is jaw-dropping, the real treat here is going to be the vocal performances from former Yngwie frontman, Goran Edman, on three of these tracks. In each instance, I am drawn back to Malmsteen's Eclipse and Fire & Ice albums, which I consider to be two of the Swede's true masterpiece records. Hearing Edman glide across these tracks that are also launching pads for some insanely catchy solos and gorgeous riffing gives me chills, to be quite honest. In my opinion, Bugallo sounds every bit as good as Malmsteen on these types of tracks, and Lynze is better than anything Yngwie has released in more than a decade or two. If I had to pick a favorite of the three, it would probably be "The Eye Of The Lynx", with its aggressive opening riff, machine gun drum patterns, and subtle supporting keyboards that all form up to create the sonic bedrock of this earth-rattling rocker. The solo is, of course, absolutely off the chain, and the rapid-fire pace of the verse and chorus sections is set off nicely by a bridge section that brings things down to a more mid-tempo smolder for a few bars before flaring back to life. Excellent stuff, but all three of Edman's tracks are top notch and you can't go wrong with any of them. Ask me again tomorrow and I might tell you "Dark Side Of Love" is the best, with its thumping bass line, 80s-inspired electric drums, AOR-ish keys, and exquisitely layered backing vocals (also Edman, if I understand correctly). Heck, I could make a case for "Break Off Your Walls" to be the best of Edman's work here, with its galloping rhythm guitars and searing solo section. They are all three excellent tracks and I have to wonder if these two men won't get together again in the near future to build upon the greatness they have started with Lynze.
I simply love this album, programmed drums and all, and I seem to find something new to like about it with every listen. As great as the instrumental work is, the composition of these songs is top-notch, as well. This isn't riffing and running just for the sake of playing as fast as possible; there is thought and intent behind the melted strings and smoldering fretboards left in Bugallo's wake. Add in the fact that the man handled pretty much everything on this record, and it is breathtaking to me the level of musical talent one beholds when they spin Lynze. Seek it out, people! I believe it is still available on Amazon, and even as a digital download album, it is well worth it!
Rating: Crankable to the extreme! Crank this to 8...which is about as high as I will likely ever rate an instrumental album...and then shred the dial! This is some excellent neoclassical speed/power metal!
Speed Stroke is a band I first encountered about a decade ago, and many of you may have ran into them, as well, on the Crashdiet tribute album, Reborn In Sleaze. After releasing a couple of albums and touring with a virtual Who's Who of New Wave of European Sleaze and Hair Metal bands (Confess, Reckless Love, Hardcore Superstar, Backyard Babies, Crazy Lixx, 69 Eyes, etc.), the Italian band made the move to Street Symphonies Records and the Burning Minds Music Group to release Scene Of The Crime. With the move comes the most complete record of the guys' decade-long career!
If you are familiar with Speed Stroke from previous releases, much about the band stays the same on the new record. Jack's vocals aren't your typical hair/sleaze vocals, as he tends to stay lower in his range than most. Yes, he can scream, and he has some higher end, but he relies more on snarl and attitude in his delivery than he does on range, which is okay with me. They may take a bit of getting used to for some folks, but to me, Jack is a big piece of what makes Speed Stroke the quality band they are. They twin guitars are every bit as solid as they have ever been, with D.B. really ripping into some tasty leads throughout the album while Michael works with Fungo and Andrew to set a gritty rhythm and tempo for the rockers that dominate the album. But on Scene Of The Crime, the songwriting takes a definite step forward (not that it was bad before) and several songs here are more mature in their approach than in the past. Oh, sure, there are still the rough and rowdy sleaze rockers (I mean, come on..."Who F'd Who"?), but to me, a track like "No Love" would never have been the excellent ballad that it is here.
"Heartbeat" opens the album and has a straight-outta-88 guitar riff and some group "oh oh ohs" from the outset, as the music builds and the drums intensify before the dirty rhythm riffs from Michael's guitars burst forward into a balls-out rocker to kick the album off. Jack's easily identifiable vocals ooze from the speakers through the verse sections, with some gang back-up, and then the melodic "oh oh ohs" return in the chorus section. D.B. launches into the first of numerous high octane solos here, and to say he has the 80s style and sound down pat would be an understatement. Just an excellent launching pad for Scene Of The Crime to take off from.
Speaking of the title, the title track is up next, and it is instant ear candy. The gang-shouted chorus actually kicks off the track, with the drums and guitars kicking in shortly thereafter, giving the track a different feel from the rest of the songs here. Those gang-shouted vocals show up in numerous spots on this record and are really a great addition to a song like this, even tackling small parts of the verses here and there, which I think is pretty cool. Jack shows off a wailing scream before the solo run from D.B., and there is a definite Skid Row feel to this track that I think will hook listeners from the get go. Love it.
"After Dark" has a swinging feel to the rhythm that is unlike anything else on the album, and the first point of reference that popped into my head was "D'Stroll" by D'Molls, although "After Dark", to me, is a far superior song. There's just more meat to the track, more going on musically, and a better solo from D.B. Fun and bouncy, but with a shade of darkness to the overall vibe, "After Dark" isn't going to clobber you head on, but it's going to sneak up on you and take you by surprise, sandwiched as it is between the two up-tempo tracks, "Scene Of The Crime" and the next on, "Soul Punx".
Speaking of "Soul Punx", this is a fun, high-octane rocker that I think truly captures the style and sound of the 80s scene as well as just about anything I have heard from any band this year. The noodling guitars at the beginning of the track, the sharp, snappy drums, the snarling lead vocals, and the fast and furious solo from D.B., all contribute to make this an absolute blast of a song. A few f*bombs are dropped throughout the song, but this is modern sleaze, folks, so what do we really expect? All in all, possibly my favorite track on the record. Check out the video below.
As mentioned before, "No Love" is a killer ballad that I found myself really drawn to from the very first time I heard it. The piano is a great addition here, and the vocal approach from Jack is perfect for the emotion of the song. At times reminiscent of GnR's "November Rain", this is a beast of a track and one that really showcases the musical growth of the band. The flamenco-styled guitar at the 3:30 mark is a nice touch, as is the stylistic change that accompanies it, both of which set the stage for D.B. to really dive into a soul-exposing guitar solo here. The gang chorus coming out of that solo is great, and the whole band just nails the track, giving this six minute track an epic feel without getting overly sappy with the production or dropping in programmed string sections that are unnecessary, etc. This is a great, great ballad and among the best I have heard from the sleaze genre this year, hands down. Just like "Soul Punx", this track gets a lot of repeated listens.
"Red Eyes" picks up the pace with an edgy, three-chord rocker that again features more of the excellent backing vocals from the band that I think do an amazing job of setting Speed Stroke apart from many of their peers. D.B. contributes a fun little solo, and while "Red Eyes" isn't a track that stands up and screams "LOOK AT ME", it is a solid transition from an epic ballad to a sleaze-fueled rocker, "Who Fkd Who?", and is definitely not a skip-track by any means.
If something dirtier and sleazier is what you are looking for, you need look no further than "Who Fkd Who?". Sounding a whole lot like a Kix track, musically, this is a sleaze-infused rocker with plenty of tongue-in-cheek attitude and a really solid backbeat from Fungo and Andrew that keep the track driving along. I've stated several times in several reviews that bands, especially European bands, like to throw the f*bomb around to excess, especially when there is no apparent reason for it, but I will say that on this particular track, it doesn't come off as excessive, "look at us and our attitude" lyrical candy, so much as it comes across as the general attitude of the song and band, in general...and I can live with that. The guitar work is excellent here, and D.B. blisters his way through another aggressive, dirty solo. Definitely a top 5 track here on an album filled with great tracks.
"One Last Day" slows things down...a bit...one final time, but it's not really a song, per se, as much as it is a musical interlude. Andrew and his drums get a break here (he gets to smack a tambourine a few times), as do Fungo and the bass, as this is just Jack and D.B., along with some backing vocals, on a great, soul-baring piece of music that may seem somewhat pointless to a few but that I really, really like. There is just something about the performances here that draw me in.
Album closer, "Hero No. 1" is another straight ahead rocker, packed with attitude and dripping with sleaze. Jack comes off every bit as aggressive and edgy as he does anywhere else on the record, and the gang-shouted backing vocals are spot-on perfect for this big fist-pumper! D.B. blasts into one final guitar solo, unleashing any flash and speed he had left in the tank from the previous nine songs, and while it is a bit shorter than I would have liked, there is little doubt that he is a serious talent on guitar that more people need to hear. This finale is one that really leaves me hoping for big things from the band in 2021 and beyond!
My only gripe here is the production. There are several tracks where the mix sounds rather muddy, especially around the vocals and lead guitars. Now, this is a digital promo copy that I am working from, and on more than one occasion the files sound considerably worse than the actual CD does, so I am hopeful that this is the case. Even if not, this is still a great record, but if so these production issus do take a bit of polish off the greatness of Scene Of The Crime.
To say that there are a lot of great modern hair/sleaze bands in Europe these days would be an understatement, but I truly feel that Speed Stroke deserves to be mentioned with some of the best. Scene Of The Crime is one of the true surprises of 2020 for me and is an album that hasn't left my player since I first popped it into the disc changer. While numerous folks have likely head-banged along with Burn 'Em Allby Confess this year, there are several other bands that deserve your attention, and Speed Stroke, with Scene Of The Crime, is one such band. Seek this record out!
Rating: Lovin' what I'm hearin' from these guys, and musically I would say crank this fun record to 9! Unfortunately, the production issues drop this to a 7.5!
How in the world do two guys create such a huge sound? That is what I was asking myself as I sat at my desk working on this review for Motivik (pronounced MOE-TEE-VICK), a two-piece "groove thrash band" from Atlanta. Obviously, technology in the recording studio is a key part to the whole process, but to even consider pulling off such a task as this, a band has to have some serious skill, which Motivik definitely has.
The album kicks off with "Inception", which I honestly expected to be an intro, based solely upon the name. I was wrong. "Inception" is a full-on thrashfest with a style and sound, especially on the guitars ,that is going to be reminiscent of old-school Metallica, while also being infused with the twin vocal stylings and multiple tempo changes of Christian thrash legends, Tourniquet. In fact, comparisons to Tourniquet's Gary Lenaire and Guy Ritter are going to be obvious throughout the record, but would we consider that to be a bad thing? I certainly wouldn't, as the first three Tourniquet albums are among some of the most unique thrash records to come out of the late 80s when thrash was at its peak. The rhythm guitars are high speed and gritty, and the drum work here is exceptional, but it is the solo work that that really caught me off guard. Starting off smooth and soulful, the solo almost sounds like Roebuck is playing an electric Flamenco guitar at the beginning, but then his guitar seemingly sonically EXPLODES into a fit of speed and precision picking that simply must be heard to be believed. This is insane! Things then slow WAY back down into a plodding, morose final run through the chorus, and my brain is trying to catch up to what I just heard, as this is NOT the type of music that most bands are attempting these days. What a killer way to start off a record!
"Away" is up next, and the music is more mid-tempo thrash, with those buzzsaw rhythm guitars and the overwhelming drums, but the vocals are barked in almost nu-metal style...but in a good way! After the chorus, the song speeds up to break-neck pace for a few seconds, then it slows back down to its original pace for the next verse section. After that verse, its back on the gas pedal for the drums and rhythm guitars as Roebuck absolutely tears into a shredding solo that has some serious notes-per-second density, only to be closed out by a little flourish from the bass, then back into the chorus to conclude the song.
"Lament" is an old-Western instrumental, complete with south of the border violin playing and the plodding rhythm of an old gunslinger's horse moseying through the dirt streets of whatever town the hero happens to be riding through at the time. Many will say this song shouldn't be here, others will say it shouldn't work, but all would be wrong, as this is a killer inclusion to this record, really playing upon the title of the album and working to establish Motivik as a band that will do what they want on an album, stylistic expectations be danged. I, for one, love this track, especially as a kid who grew up with Spaghetti Westerns and John Wayne and Clint Eastwood movies, both black and white and color. This is really great stuff!
"The Past Of Tomorrow" is a complicated track, focusing almost exclusively on the groove of the track on the first verse section and throughout the choruses, but then just unleashing the speed in bursts between musical sections. Some gentle effects are used on the vocals, which reach pitches and ranges not attempted thus far on the album, and one can hear a nod to the vocal approach of Deliverance legend, Jimmy P, Brown II, especially as the song outros.
"Souls In Torment" is a cover of a song from the underground Christian thrash band Sacrament. Once again, the comparisons to Tourniquet are going to be obvious, but once again, I have to ask if that is a bad thing. Time changes, a huge drum presence, harsh vocals, and alternately chugging and speedy rhythm guitars are all featured in this song, and Motivik stays really close to the original song in the structure, which I will admit made me smile, as I was a huge Sacrament fan back in the day. But the real kicker here is the guest vocals from Robert Wolfe, the singer from Sacrament! If you are an old-school thrash fan, especially a Christian thrash fan, this track alone makes Death Of The Gunman an absolute must own!
"Undismembered" starts off with a somber tone, a slowly picked guitar reminiscent in style of what Metallica did with "One". The drums catch a military rhythm about half-way through this opening section, then the rhythm guitars ignite on a mid-tempo thrash attack, complete with some solo work from Roebuck...and this is all in the first 1:35 of the song! From here, the dual vocals of Roebuck and Simmons join the fray, one barking, the other snarling, again recalling the work Ritter and Lenaire used to do in the first years of Tourniquet, but never with the high-end wailing used by that band. As is the case with Motivik throughout this album, tempo changes abound, never letting the listener settle into an expected pattern with their head banging or fist pounding, which is a huge part of what makes this record work so well, at least for me. The big outro solo is excellent, also, and despite the fact that the song is five minutes long, it seems over far quicker than the running time would suggest.
"On The Way Down" has a power metal feel, not unlike something Iron Savior would do, speedy and punchy, but not quite full-blown thrash. Do not take this as a musical loss, however, as there is a lot to like here! The drum work continues its remarkable charge through the record, and the riffing here is powerful and melodic, crunchy and aggressive, all at the same time. Backing vocals are utilized to musical effect here more than in other parts of the record, which is cool to hear, as the two guys' voices really work well with each other. Roebuck treats us to another string bending solo to feast our ears upon, but power and emotion are the keys here, not just speed and dexterity. A nice change of pace, to be sure.
"Pale Rider" starts off with a church organ intro, accompanied by a spoken word narrative about the Pale Rider that "is coming for us all", of course referring to death. A roar from the singer (I never know which man is singing which part), and the song takes off from here! The drums are once again a true pleasure to listen to here, with so many different fills, and stop-start tempo changes, which really set Motivik apart from so many bands I am sent to review these days. Some of the vocals on this track fall more into the metallic scream category than the harshly barked style that is often used here, which is cool to hear. The solo is catchy and quick, but perhaps not long enough for me now, as it has become quite obvious Roebuck can carry out a guitar run for a considerable amount of time if he chooses to. Another high quality track.
"Pale Rider" bleeds seamlessly into the album's closer, "Let It Be Known", which again incorporates that Western flair that "Lament" so expertly exhibited earlier in the album, including the se of the violins to establish the mood. Unlike "Lament", however, "Let It Be Known" is not an instrumental but the story of the album's hero whose "draw was just too slow" to beat "the bullet [that] lies within me", as the gunman is overtaken by the Pale Rider of Death. Surprising to many, this song never blazes into a big thrashy solo or jackhammer drum pattern, rather letting the song...and the album...ride off into the musical sunset at a (relatively speaking) lazy pace that showcases the band's songwriting skill as much as their musical prowess. Color me impressed with this musical choice, as it is not one that a lot of bands would have made!
The production is very, very well done here, which is necessary when you have so much going on with the various styles, speeds, and tempo changes, and the mix is clean with no muddiness. I don't have the liner notes for this record, but if this is truly all played by Mr. Roebuck, then he may be one of my new musical heroes, as this is flat out impressive from start to finish! Thrash fans, all I can say is DO NOT MISS THIS RECORD! Roxx Records never does massive print runs so this will become harder to find the longer you wait!
Rating: Very, very well done, Death Of The Gunman is a musical treat to hear! Crank this to an 8.5!
In the 1980s and early 1990s, there was likely no band in the Christian scene that waved the heavy metal flag higher than Barren Cross did. Not death metal, not speed metal, not thrash, hair, or doom metal. I'm talking just heavy metal. Albums such as Rock For The King and Rattle Your Cage, and most notably the band's two biggest, most well-known efforts, Atomic Arena and State Of Control, really showcased a heavy band that delivered with big, screaming guitars, pounding drums, deep, rumbling bass, and a front man who could wail with the best of them, Christian or secular. Michael Drive (then known as Mike Lee), was the epitome of a heavy metal front man, with a powerful, deep tenor that could shake the rafters if necessary, or drop to a menacing snarl, whatever it took to command your attention. When Barren Cross was no more, Drive (Lee) could be heard fronting bands such as Bare Bones and Sanxtion, and even trying his hand at a more pop-oriented sound as a solo artist, but never did he really find his musical voice again, in my opinion (although Bare Bones was close).
During a slightly later period, Tracy G was the screaming guitar voice of Dio, which of course featured one of the most lauded singers in heavy metal history, Ronnie James Dio. Tracy G (real name Tracy Grijalva) brought to the band a heavy-yet-still-melodic style and helped to forge the sound on what are considered to be two of Dio's heaviest records, Strange Highways and Angry Machines, and he served as the guitar player for the band from 1993-1999. Much like Drive, however, once his stint with that band was over, the guitar player found himself drifting from project to project, with none of these really catching on in a way that seemed to suit his style or talent level.
It seems things have perhaps changed for both men with Gale Force!
Gale Force has been together as a band for not even two years, yet they have put together a powerful album of metallic hard rock that completely sideswiped me. Having been a massive fan of both Barren Cross and Dio since...well, since forever, it seems...I was intrigued by the pairing of Drive (who I am certain I will call "Lee" at some point in this review) and Tracy G, and I hoped the results would be a solid start for a new band. There is no way I was prepared for Subhuman in its totality, however.
The record kicks off in a big, aggressive way, with "Crash & Burn", which was actually the first song the band wrote together, even before really being a "band". The rhythm guitar riff reminds me of EZO's "House Of A Thousand Pleasures", but the rest of the track is nothing like that quasi-hit from the cult Japanese metal band. Right away, it is apparent that Lee...err...Drive (see, I did it already!) has not lost a step at all vocally, as he is all over this song from the get-go! Alternately gritty and soulfully smooth, Drive is in complete command of this hard-and-heavy rocker. Tracy G shows that he hasn't missed a step, either, as he tears through a nifty, speedy solo as he tears across the solid bass work of Oviedo and the rhythm riffing of Alfery. Interestingly (at least to me), the drummer for this track...and for the entire record...is left uncredited, with the liner notes simply thanking the "great session drummers who played on this album". Not sure what that's about, but the drums here are definitely worthy of the rest of the track and don't sound at all like they are programmed. There are some programmed car crash effects dropped into the mix, but otherwise this is just five guys and their instruments rocking out full force! Check out the lyric video below...
The album's title track is up next, and immediately a contender for the crown of "Best Song On The Record" steps up to the place. Thick and chunky, "Subhuman" has a scorching solo section from Tracy G., an uber-catchy, sing along chorus, and an undeniable hook that sucks you in upon first listen. Drive again powers his way through the track in a way that I haven't heard from him since the last studio record from Barren Crosss. Metal-tinged hard rock at its finest, there are no keyboards here to tinkle away in the background, no programmed orchestral sections layered in for emotional effect; this is just punishing hard rock that will have fists pounding and head banging from the first listen!
If "Subhuman" throws down the gauntlet for song of the record, "Master Machine" answers that challenge, as it is every bit as powerful and catchy, with even more metallic bite than its predecessor! Lee...DANGIT...Drive is simply unrelenting here, snarling his way through the chorus sections, then backing off into a more singing vocal style for the chorus work. The drums are really, really good here, leading me to really wish I knew who was playing, and Oviedo gets a bit of the spotlight shone on his outstanding bass work on this track. Tracy G. once again blasts through a metallic fret running solo that hearkens back to some of his work with Dio, particularly on Angry Machines, and this album is blowing me away three tracks deep.
If there's a miss on this record, it would have to be the ballad, "Red Line", which drops in at track four. But make no mistake, this isn't a horrible song at all. It just seems of out of place on the rest of this punch-you-in-the-earhole record. Drive is able to showcase a softer side, and the piano really serves to set the track apart from the blistering metal tracks that surround it. The problem is that it the song just sticks out SO MUCH that it serves as a serious speedbump in the flow of the record. I'm not saying I would have dumped the track, but I would have moved it much farther down in the track listing, or at the very least surrounded it by a couple of more mid-tempo numbers than "Master Machine" and "Dystopia". Placement aside, the song is a strong one, and again, Drive sounds really strong here. For his part, Tracy G lays into a really nice, melodic string-bender of a solo, and the previously mentioned piano is well-performed by Alfery, so it isn't a throw-away track by any means. I will note that there is an odd "referee's whistle" effect that pops up in a couple of places that I'm nor really sure why it is there. I'm wondering if it is an after-effect of the digital download that I am reviewing, and I will be interested to see if I can even hear the sound on the actual CD when it arrives. I'll let you know!
Speaking of "Dystopia", this track is Michael Drive at his best, plain and simple. Utilizing every tool in his vocal toolbox, Drive spits, snarls, screams, and soars at various times, adding a demented, haunting twist to his vocals (think Alice Cooper theatrics) in places, as well. Tracy G lays down another fret-melting solo, and Alfery's rhythm playing is at its strongest on songs like this one. Again, uncredited, the session drummer used on "Dystopia" is really, really good, and this track is definitely one that fights for the listener's attention every time it comes up on the stereo! I typically hit repeat at least a couple of times, but then have to force myself to stop so that I can get to "Never Say Goodnight".
Bass lovers, you are going to drool all over yourself when you hear the fat groove that is dropped by Oviedo on "Never Say Goodnight", a deep, thick, haunting song that reminds me of some of the stuff that Tracy G was doing with Dio. While mentioning the guitarist, Tracy G once again delivers a excellent solo, creative, soulful, and willing to allow quieter moments to enhance the notes and tones that he entices from his guitar. Drive is, once again, in rare form here, adding an angry edge to his powerhouse delivery, and I find myself really wishing I could watch the man lay down these tracks in the studio, just to witness the theatrics I have to believe he brings into the booth with him. The man is a vocal master that really doesn't get the love he so deserves because so many people choose to ignore his work with Barren Cross (which is folly in and of itself).
"Rat Race" has a definite mid-80s metal feel to the guitars and even the production. It reminds me of old Twisted Sister in its stylistic approach and guitar tone, although the angrily barked chorus is probably a bit harsher than anything Dee and the Twisted Boys did back in the day. Not enough can be said about the way Drive attacks this record vocally, unafraid to alternate approaches and to experiment with different techniques. And, as on every song here, Tracy G., sets fire to the solo section, this time using that retro sound to blaze away before the song surges headlong into the final runs through the chorus.
"Where Am I Going?" has an odd intro that had me scratching my head a bit, to be honest. Once the strumming was over, however, a throbbing bass line sets in motion a slower-tempo rocker that doesn't really check all the boxes to be categorized as a power ballad, especially with the different time signatures utilized by the drummer here. But if you drop the word "ballad" you are still left with "power", which Drive delivers here in a deeply introspective song that finds the singer exploring the darkness of his past and questioning where that past will lead him in the future. If I have one complain about this track it is that it seems to end rather abruptly and I would have loved to have heard Tracy G. get to solo his way out of the song as it faded into nothingness. I really miss those long outro solos of the 80s and 90s... Just sayin'...
For those who have heard the Rattle Your Cage album by Barren Cross, "Fire In The Hole" is a bit reminiscent of the song "The Unsuspecting", but is definitely not a rip-off track. The chugging guitars and plodding bass line are both slower than on "The Unsuspecting", but there is definitely something there. Perhaps it is the impassioned vocal performance from Drive, who again alternately snarls and wails on this heavy track, pushing the power level of his vocals about as far as one would think they could go. Tracy G...who is specifically called upon by Drive ("T.G...pick up that guitar and talk to me!" JUST KIDDING!) blasts into a metallic fretfest that is unmatched on the record in terms of note density and sheer force of will being exerted upon his guitar, and the overall feel of the track has it in firm contention with "Dystopia" and "Subhuman" for song of the album. Love this track!
"Alter Ego" is a bit more hard rock than much of the album, but don't take that to mean it backs off the intensity or the attitude, as the difference is more in the songwriting structure than anything. Faster than the previous couple of tracks (and the following track, for that matter), "Alter Ego" has a catchy hook and a sing along chorus that finds Drive backing himself up perfectly (Drive handles all of the vocals according to the liner notes), with big, layered backing vocals soaring behind his slightly edgy lead vocal line.
"Riot Act" closes the album in excellent fashion, with the gritty metallic grind of the song serving as an angry sonic slab for Drive to snarl across. Tracy G explodes in a couple of different solo runs here, including a monstrous shredding exit at the end of the song, as the bass and rhythm guitars relentlessly power the song forward. Proof that heavy doesn't have to mean fast, "Riot Act" is another top notch entry into contention for song of the record, which puts it into the company of half the album! To me, that tells you there is something special about Subhuman as a record, and about Gale Force as a band.
Thankfully the liner notes include the lyrics, as I was curious to see if Drive would back off of his lyrical approach with this band. Thankfully, he absolutely does not. There is not shortage of references to God throughout the record, but at no time does Drive wield his faith like a weapon against the listener. Much like Scott Stapp did in his turn with Art Of Anarchy, Drive sings from his heart and soul about his own worldview, but at no point does he condemn the listener to hell for not sharing that same worldview. Take, for instance, these lyrics from the album's title track...
"Sub-man, are you exposing the scam, that God is 'dead', 'fake', 'blind', or 'sick'? Or a figment of your imagination running, Must be some elaborate trick!"
Elsewhere, on "Crash & Burn" he announces that "Only God can move you to the place where faith is really built", while on other songs, such as "Dystopia", he warns of today's society that seeks to steer people away from God when he sings, "Don't fear Dystopia, All is fine, don't seek a higher way".
The production is solid and professional, but sounds a bit dull in spots. To be 100% candid, however, this review is based upon a digital download as the CDs are still being printed, so I have strong hope that this is more of a download issue than anything else. If that is not the case, the production will by no means stop fans from enjoying this slab of metal and metallic hard rock. I truly hope Gale Force is not a one-and-done project, as this is some impressive stuff.
You can get your copy right now by going to www.galeforceband.com and pre-ordering the album. You will get an instant download of the entire album including the album cover and complete booklet for like $16 or $17. The first 200 CDs ordered will be autographed, as well.
Rating: A surprisingly powerful record that I didn't see coming at all! Crank this to 8.5!
I honestly thought that with 2020 being such a...well, let's call it "frustrating"...year, we might see more new Christmas albums being released to try to brighten up the end of the year. That has not been the case, at least with bands and labels that send music to Glitter2Gutter or our all-Christian sister site, PositiveRockReview, so I pulled up an EP from last year to spread some holiday cheer in these dreary Covid days.
One of the most exciting modern rock bands to come out in recent years has been the independent act, Bayless. The husband and wife team features incredibly powerful clean vocals from both, with some harsher vocals coming from Jared, who also plays guitars, while Vanessa is responsible for keys and programming. Does that mean the drums are programmed here? I would have to assume so, as no drummer is credited anywhere that I can find. This is of minor concern here, however, as these are traditional Christmas songs, and there is little to really shake up for the most part, although the Bayless couple does alter the arrangements just a bit to keep things fresh. But if you know anything about Bayless...which you should after last year's stellar Ready.Aim....then you know Bayless is about powerful vocals from both spouses, with strong guitars and programmed elements.
This EP starts off with "O Holy Night", although "Carol Of The Bells" is used to lead the song in...literally...as a chorus of what I'm guessing are programmed bells, kick the song off. Once this traditional favorite kicks into it's familiar vocal opening, things really take off. Surprisingly, I would say this is my favorite performance on the EP, as Bayless does a great job of keeping things traditional as far as the melody and tune go, while also adding some programmed orchestral elements and the heavy rock riffing from Jared's guitar, along with a driving drum line. Jared sticks to backing his wife on vocals for most of the song, with his haunting baritone ringing out in the chorus sections, but for the most part this is Vanessa's baby, and she delivers in a big way. Jared does break into a refrain the band adds to the end, as he sings about "the night that saved my life", referring of course to the "holy night when Christ was born". I couldn't tell you how many times I have requested this song on www.ChrsitianRock.net (I'm sure THEY could tell you!), but it is a lot! I really like what Bayless did here, and I was jacked for the EP to continue.
My all-time favorite Christmas song, "The Little Drummer Boy", is up next, which had me very excited. Unfortunately, I ended up being rather let down, to be honest. The vocal performances are superb, to be sure, but I am not a fan of the arrangement at all. The drums, physically, are lacking, and lyrically, there is very little in the way of "pah rum pum pum-ming" going on here. The song features some slightly discordant piano at the beginning, which gives way to the the soaring vocals of Vanessa who sounds absolutely exquisite here. But Jared's backing "ahs" where there should be powerful "pah rum pum pums" really shocked me. On the second verse, the snare drums kick in with a marching cadence as Jared takes over on lead vocals and Vanessa slides into the background, but she doesn't "pah rum pum pum" for me, either! The guitar work is solid but not overpowering, which it typically isn't in this classically drum-centric song, and the programmed strings and orchestral elements remain enhancements rather than major players, giving plenty of room for the vocals to work, which they do extremely well. But in the end, the lack of a truly powerful drum presence and the overall arrangement just really let me down. Perhaps I am unduly biased due to this being such a favorite of mine.
"The First Noel" is an acoustic-based number here, with Jared handling the lead vocals on the first verse, with Vanessa tackling verse two. The production here is a bit thin but not horribly so. Some tinkling xylophones and chiming bells ring in the background as the song builds on verse two, with the electric drums smoothly sliding into place over a simplistic drum line. Nothing overly unique about the arrangement here for the first 2/3 of the track, as Bayless plays it pretty close to the original for most of the track here. They do add some of their own style in the later stages as there is some nice tympani work added in and the vocal arrangement is altered a bit. A few modern flourishes are dropped into place toward the end. I like this quite a bit.
"O Come O Come Emmanuel" closes things out in unique fashion. The first verse is starkly different than the rest of the song, with an almost island feel to the sparse acoustic guitar and simple drum line that backs Vanessa's soaring voice, with a tinkling of piano drifting in as the first verse closes. The guitars crunch their way into the track with the start of verse two, as do some programmed strings and drums, with Jared's powerhouse baritone adding solid support to his wife's remarkable soprano which is used as the lead on every verse here and throughout the chorus sections. Again, I really like what the band does here, I just wish the production had been a bit beefier. Very much listenable, just not in line with the greatness that Ready.Aim. as far as fullness of sound goes.
As far as I know, this is only available digitally, and I am sure you can download it on all your favorite platforms. I know Amazon has it for under $4.00, so snag it an put it into your favorite holiday musical mix...although I'd honestly consider leaving "Little Drummer Boy" out, especially if you are as big a fan of the track as I am.
Rating: The performances are strong but the arrangements are a bit hit or miss for me, especially on "Little Drummer Boy", and the production is not quite at the peak. Rock this to a 6.5.
Just in time for the holidays, Royal Bliss fights through the pandemic unknown to return from quarantine with a bite-sized EP, Our Favorite Things. Currently only available digitally, not only does Our Favorite Things find the band hitting hard with some of the heaviest material they have released in some time, but they also bring in SHIM (Shimon Moore, formerly of Sick Puppies) to collaborate on the current single, "Medication" (more on that in a minute). Utilizing the same four-person line-up found on the self-titled release from 2019, Royal Bliss offers up this little musical gift for its fans in a time when so many are begging for new music to tide them over until a time when we can go see our favorite bands live again, a theme which the band visits on a couple of occasions on this effort.
The EP kicks off with the band covering the classic "Favorite Things". The music is eerily haunting in the way it is performed here, and Middleton matches the mood perfectly, especially with the reverb that is added to his vocals. Always teasing at becoming a hard rocking affair, "Favorite Things" sticks to relying on acoustic guitars and simple drums, along with some effectively placed strings and a children's choir to back things up. There's a potent instrumental section before Middleton comes screaming back into the fray with another run through half of the chorus before he leaves the scene and allows the children to carry the song home. There's a lot going on musically in this track and it is definitely a fun listen that I hope drifts across the airwaves of more than a few rock stations during the Christmas season.
Things get amped up in a BIG way with the band's late-summer single, "Medication", which features SHIM, formerly of Sick Puppies, on co-lead vocals. An aggressive rocker, this is the type of hard-hitting Royal Bliss track that I fell in love with from the band several years ago on the Waiting Out The Storm and Chasing The Sun albums. Fueled by the angst of the pandemic and the lack of live music due to lockdowns, quarantines, and social distancing across the country, "Medication" blasts the listener with heavy guitars, a punchy bass line, and thunderous drums as Middleton snarls, "Where's my medication?!" It should be noted, however, that medication in this case doesn't refer to pharmaceuticals, but to the music that the band...and so many of us...need to keep ourselves sane. As such, the accompanying video, which can be seen below, fits the mood and attitude of the song perfectly, as does the lead vocal assist from SHIM (Shimon Moore), formerly of Sick Puppies. SHIM is featured on the second verse of the song, and also appears in the video in a television commercial for the medication, SHIMTAC, which will apparently help with the "Rockvirus" that has swept the country. (Be ready with the pause button in several spots in the video to catch the different references that are sprinkled throughout the television programming that the strait-jacketed Middleton watches from his padded cell.) Moore's vocals are distinct enough from Middleton's to add a different feel to his verse without compromising the crunch of the music, and I hope that more came out of the pairing of SHIM and Royal Bliss than just this one song, as I think they fit together perfectly! Also of note are the gang backing vocals that are incorporated in the track, adding even more depth and power to the agitated snarl that Middleton uses on the chorus sections. Check it out below and see if you don't agree...
And in case you missed it, beware of the side effects of SHIMTAC should you choose to take your "medication"...
The EP wraps with another medicine-based track in "Ritalin". A snappy drum beat and punked-up guitar riff drive this three minute rocker that again harnesses the angst of the band during this shut-down period for live music. I like the guitar solo that follows the second run through the chorus, and the outro frenzy from Richards is excellent as well! Seemingly speaking out against the government making decisions for us and pointing out that the far-left and far-right are both missing the mark for the majority of the people, "Ritalin" has a catchy rhythm, a sharp hook, and a sing-along chorus that will likely become a live show staple in 2021 and beyond. The lyric video is below...
As I stated previously, this EP is currently only available digitally, and I honestly doubt the band will go to the expense of pressing a 3-track CD, but perhaps these songs will show up in 2021 on a full-length record that the band decided to assemble while touring was on hiatus. Regardless, if you are a fan of the hard-edged rock n roll that Royal Bliss is known for, you are definitely going to want to track these last two songs down, and "Favorite Things" is a must-have for your Covid Christmas playlist!
Rating: Not a fan of rating EPs due to the small sample size, but in the spirit of the season, I'll gift you with a rating of Our Favorite Things at a crankable 8!
