DriverWild 2010
Review by Urban "Wally" Wallstrom,
16 Mars 2010

David Henzerling... who the f**k is David Henzerling? Well, quite a lot of you may recognize him more under the 80's artist name of David Michael-Philips. That's right ladies and probably some of you gentlemen, the blonde lead guitarist of King Kobra and Schoolboys/Icon. Tunnel is his latest project featuring lead vocalist Scott Hammons (Icon) and their debut album is overall fun classic guitar oriented rock.

It's a way more "mature" sounding platter than Henzerling's previous project, Big Cock. Let the music do the talkin' - should be the overall message this time and I definitely prefer this over David's other project. Tunnel is an rollercoaster ride of riff-spitting numbers in the vein of Van Halen, Tesla, Shark Island, Sammy Hager, Ozzy featuring Randy Rhoads, plus some of the most uptempo songs of King Kobra. It's sparkling hardrock with a rather familiar concept and formula of the past. Indeed, you can almost hear the distant sound of Rhoads' amp in the background.

The opening two track, "Sound Of Thunder" and "Blood On The Highway", sets the mood and standard for the entire album. Classy guitarwork and soaring vocals by Hammons. "American Metal" is basically a kick-azz tune with a huge guitar riff. Inspired and influenced by Van Halen's all-time classic, "Ain't Talkin' Bout Love", no doubt? The excellent closing track, "Garden Of Your Earthly Delights", sounds like if Tesla were doing outtakes from the John Corabi fronted version of Motley Crue (what a great and sadly underrated CD they did with Corabi).

AOR Heaven 2010
Review by Kimmo Toivonen,
15 March 2010

Serpentine is a new band featuring the distinctive voice of Tony Mills. His work seems to be much in demand these days, this album being the third one we're reviewing during the last few weeks. In case you're wondering, the other two are Acacia Avenue and State Of Rock.

After the first spin, I knew this album would take a few additional spins to get into. You see, Serpentine play the kind of AOR that leaves a "nice" first impression, but after that it either becomes forgettable or it raises to the next level. In Serpentine's case I'm steering towards the second option. The label's new anti-piracy policy of having "secret fades" in most of the songs tries hard to piss me off though. "Secret fades"?`They're not so secret when the damn song disappears from time to time!

Apart from the obvious vocal similarities, the music of Serpentine reminds me a lot of SHY (Mills' previous band). The keyboards are upfront, but the hard-edged guitars add a bit of bite to the sound. Indeed, some of these songs wouldn't have sounded out of place on Shy's classic "Excess All Areas". The title track, the video track "Whatever Heartache", "Let Love Rain Down" and "In My Blood" are probably the strongest tracks, all blessed with strong melodies and hooks. The quality dips quite a bit towards the end though, with tracks 7, 8 and 9 passing me by almost unnoticed. Having played this album quite a few times, I still had to check those three because I couldn't remember them at all... and yes, they're pretty average. Track number 8, "We Belong" might appeal to Journey freaks, as it's a bit like "Only The Young"...

The album's last track is quite a surprise. It's a cover of Toni Braxton's "Unbreak My Heart", given an "AOR treatment". Not that the song ever was that far from AOR, it's penned by Diane Warren, who is the queen of AOR ballads! I like the original, and I like this rock version too. The novelty factor might get this some some airplay, so I do hope that the label sends "un-faded" versions to the radio stations. Otherwise they're shooting themselves to the foot.
MySpace

Granite Music 2009
Review by Alan Holloway,
18th March 2010

Natascha Sohl is probably not a well known name, although I have a feeling that someday soon we might just see her taking what would be a well deserved place in the spotlight. “Dirty Little Word” is her second album, although it’s been six years since her debut. I know that songs from this album have been knocking around for a couple of years (my media player lists them all as 2007), so hopefully any problems she has had getting this out are now sorted.

Although she is from the UK, this album is very U.S friendly, with healthy doses of the likes of Avril Lavigne, Alanis Morrissette, Kelly Clarkson and even Miley Cyrus in some of the melodies. The songs are guitar based with some good pop overtones, with the title track delivering a chorus so infectious I had to visit the doctor to get rid of it! Sohl has a great, melodic voice as well as the looks that will serve her well in the MTV world.

The songs are mostly pretty fluffy lyrically, but the beauty of this album is the sheer volume of catchy hooks. “If I Was A Boy”, for example, would be a sure fire hit if accompanied by a cool video and decent airtime on Kerrang! TV. “I’m Not Listening” has all the angst and pacing of one of Alanis’ better songs, whilst “I’m So Happy” would net Kelly Clarkson a hit without a doubt. My only problem is the last song, which takes six minutes and stretches it out to ten. It’s a nice enough piece, but it closes the album with a whimper after plenty of bang has gone before.

So, she has the voice, and she has the songs. Fair enough, but will this be another case of a performer doing everything right but not getting what she deserves? Let’s hope not, as anyone who likes modern female fronted pop rock should get hold of this album as soon as they can, because it really will brighten up your day.
www.nataschasohl.com
www.myspace.com/nataschasohl

Lion Music 2010
Review by The Bailey Brothers,
19 March 2010

The Bailey Brothers had two albums released on the same day to coincide with our appearance at the Monsters Of Rock festival. The albums we saw as a platform to introduce emerging talent who we felt deserved recognition and a record deal. Three artistes to note on our Vinyl Frontiers album are Neville McDonald (Skin vocalist), Tony Martin (ex Black Sabbath) and Lars Eric Mattsson, who is now on his 5th album under the Mattson banner. So these guys have justified our belief in their potential and have gone on to be respected artiste in their own right. So I’m making the point because we have to review the new Mattsson release Tango so let’s hope we don’t get egg on the face lol.

If you are into prog Rock then you should really like this release because there’s some cool guitar playing ,plenty of those strange tempo changes you Prog anoraks love, there’s also lots of different instruments that add colour and dynamics. You also have a female vocalist Adrienn Antal who first performed on the 2008 “Dreamchild” release. Status Minor vocalist Markku Kuikka also performs on Tango and it’s an interesting texture that works well for the album.

It would be easy to just state the obvious and pick out songs such as Grand Escape that has been defined as a mini rock opera, Lars said this about the song "The best piece of music I have recorded, and it’s certainly different from anything I have ever done before in terms of structure". So with that in mind it’s probably going to sit better with you Prog rockers than me because I look at this music like a road trip. If I want to go to the super market I drive down the road over a roundabout and turn right to the shops. A prog rock musician in the car behind will drive to the roundabout turn left, go through three set of lights, down a one way street, over a bridge, over the river, climb a steep hill and come in to the same shops 20 minutes later. We both got there but he took the more complicated route. A strange analysis but I sometimes feel it gets complicated for the sake of it. Having said that we found a common ground with songs such as the title track "Tango", more like Abba without the satin pants but catchy and still has guitar breaks, “Believe” has a cool opening lick and as a laired vocal from Antal that lifts the chorus. If this wasn’t downloaded I may question the mix at times as the guitars scream out on quite a few tracks. We have an MP3 copy that’s had the life squashed out of the sauce recording so making a professional judgement on production is pretty risky so let’s not go there. One thing on "Believe" that was cool is when Markku Kuikka came in later in the song and sang along side Adrienn Antal. It worked really well but it would be cool to see Mattson write a straight rock album with this guy or a Jorn and restrict his playing to set guitar solos with in a more formulated structure. May be something for the future?

Meanwhile back at the Tango album "Tour De Force" has become the stand out song and it’s an instrumental. Mattsson shows his guitar playing prowess and his composer skills in one well put together arrangement. I particular liked the way he used the sitar sound and ethnic rhythms this is a well structured song in fact there’s something for everyone on Tango even a surprise right at the end on the smoky blues of “Slave To The Road”. All the time you are waiting for the big guitar solo that never came. He used a clever use of the Wah pedal in a 70’s style which worked fine.

Lars Eric Mattson is always consistent in his releases, he’s a good guitar player/composer and definitely always worth adding to your CD collection.
www.larsericmattsson.com

Retroactive 2010
Review by Urban "Wally" Wallstrom,
12 Mars 2010

Stryken made some noise all over America in the mid-eighties. They were probably the most "aggressive" Christian act of their time as they featured ads in magazines such as Metal Edge with shocking headlines such as "God 'Bleep' Satan, And Is About To Change Your Life". Not to mention the cult classic song, "Crush The Head Of Satan", featuring killer lines such as 'Don't Let Him Breath' and 'Under Our Feet'. Mega crush, indeed!!!

Founded by the Streiker Brothers (Dale - vocals/guitar, Stephen - vocals/guitar/keys) in the late seventies as "Stryker", the band recorded a nine song cassette only release entitled "Blitzkrieg" in 1983 that sold very well in the Southwest USA. By the way, you'll get the whole "Blitzkrieg" release as bonus tracks on this very CD (there's a total of 18 tracks in other words). Stryker had its name copyrighted, but when Stryper hit the scene in '84, the band decided to change name to "Stryken" so as not to cause any further or unnecessary strife. That's almost too good of them, I'd say.

"First Strike" was originally released in 1987 and their anthemic single, "Rock On", was also found on the Righteous Metal album put out by Arrival/K-Tel records. The bombastic uptempo rocker is quite similar to Black 'N Blue's song with the same title, released on the album "In Heat" a year later in '88. I'm pretty sure that Gene $immons (he co-wrote the song with Tommy Thayer) heard the Stryken anthem and deicded to "borrow" the idea and structure. It wouldn't be the first time Gene borrowed something from a Christian rocker (simply ask Ken Tamplin). By the way, don't expect a flawless production on this CD since the band worked with a v-e-r-y tiny budget. Rex Carroll (White Cross) did his best to clean up the sound as well as executive producer and retroactive records mainman, Matthew Hunt.

frontiers Records 2009
Review by Alan Holloway,
18th March 2010

It was big news when the original members of Asia reunited a few years ago, and even bigger news when their album, “Phoenix”, appeared with a title that didn’t begin with the letter “A”. Messrs Downes, Wetton, Howe and Palmer are still sticking with it, and have now graced us with a second comeback album, again eschewing the “A” for “Omega”, perhaps forewarning us that it will be the last Asia album, twenty seven years after “Alpha”. Or no - don’t quote me on that one!

It has to be said that I am, at best, a casual fan of Asia. I never liked Yes, or ELP, and even Buggles left me cold, but I’ve always found Asia to be more accessible than those bands. My personal favourite song is “Rock & Roll Dream” from “Astra”, as I like the more dramatic, upbeat tunes. With this in mind, I wasn’t dribbling with excitement as “Omega” worked it’s way onto my hard drive, but I was nonetheless looking forward to hearing it.

I have to say that it all starts off very well indeed. “Finger On The Trigger” is what I’d call a classic Asia rock track, with a good pace and some cool guitars. Geoff Downes doesn’t get to play a lot with his keyboards, but there’s plenty of time for that later. It’s good to hear John Wetton’s voice again, sounding as good as it did the first time you heard “Heat Of The Moment” all those years ago. As I listen to the album, it becomes clear that this is a Jekyll and Hyde piece of work, as I find myself getting excited by one track only to be brought down again by the next. The second track “Through My Veins” is very sedate, and though it’s true to the Asia sound it’s just not very interesting. “Holy War” is another good, solid rocker that impresses by getting the word “Trebuchet” into the lyrics, but that’s followed by the dreary “Ever Yours”.

It’s a pattern that is adhered to for most of the album - a faster track then a slower one, and I really can’t say I care much for any of the slow ones. Worst of all is “Emily”, a song so clichéd and awful it’s like they let the tea boy write it. When they are good, Asia really are very very good, but when they are dull it’s like wading through treacle. There’s a few songs that don’t go either way, like the very average “Listen Children”, and then there’s “Light The Way”, which I like quite a lot but have a string feeling it could have been much better if someone had decided to give it some bigger balls.

I am sure that Asia devotees will get a lot out of “Omega”, but I could happily chop off half the tracks and not miss them at all. There are some very good songs here, but there’s also some that just don’t go anywhere. One for fans only, I fear.
www.originalasia.com

Century Media 2010
Review by Kimmo Toivonen,
20 March 2010

I find Poisonblack's "miserable metal" a bit hard to get into. It's not too heavy or extreme in any way, they are capable musicians and Ville Laihiala has a good, raspy voice. They haven't forgotten melodies either... so what's the problem? Maybe it's the somewhat depressive nature of the songs, a fact that is celebrated in the band's bio. Ok, life sucks sometimes, but an album full of songs about that isn't going to brighten my day.

The band's label wouldn't probably mind if Poisonblack would follow in the footsteps of HIM and become a household name among the ones dressed in black, but with these songs I'm not sure if it's going to happen. At their best, the band shakes off the depression from their shoulders and play very good heavy rock ("Buried Alive" and "Alone"... okay, they're still depressed!), but at their worst they are indeed quite depressive. I guess that's what they're aiming for. Kinda funny though, because I've seen the band live, and they didn't strike me as being this depressed, melancholic and dark, they were actually quite good and entertaining.

One more thing... two or three of the songs reminded me strongly of Megadeth's "Symphony Of Destruction". Weird. Well, it would've been more weird if it had been Poison's "Nothing But A Good Time".
www.poisonblack.com
MySpace

Lion Music 2010
Review by The Bailey Brothers,
20 March 2010

Eyewitness of Life is the debut from a new act from Finland called Gronholm. Led by guitarist and song writer Mika Gronholm and it’s not a bad debut album. After a wall of vocals in the opening intro the album bursts into life with an Ozzy/ Zakk Wild type killer riff complete with pinched Squeals. It would have been cool to hear more of this energy on the album. At least it’s a change from the constant shredding with quite a wide scope including a dark Black Sabbath esc song called “Life Is” especially in the verse section. Status Minor vocalist Markku Kuikka turns up yet again after hearing him on the Mattsson Tango release but he shows he can lay down a decent vocal he’s the type you hear on some Malmsteen albums.

“You And Me” has a nice piano and acoustic guitar intro and slows the tempo right down. This is quite a good arrangement nothing spectacular, no major guitar solo but may be simplicity was the key goal? It turned out well in the end.

On balance I think this will be an album that grows the more times you play it. There’s nothing outstanding but nothing inferior either, ok the instrumental “Meet The maker” doesn’t say alot so maybe if there’s filler it’s that one but overall Gronholm come out of the starting blocks with a disc worth a spin so give it one.
mikagronholm.com
MySpace

Retroactive 2010
Review by Urban "Wally" Wallstrom,
12 Mars 2010

I do enjoy the music of Bride... I do... or at least I think I do? I certainly once did and "Kinetic Faith" and "Snakes In The Playground" are two massively groovy and fun albums. There are however two capitol errors on this platter. "Tsar Bomba" contains waaay too many tracks (a total of seventeen) and I believe it's time for guitarist Troy Thompson to let someone else have a go at writing (or at least co-writing) some of the material again.

Then again, the music of Bride is groove oriented and hardly about hooks and making "hits". And these songs continues along the same lines as their prior releases as of lately. It's well-crafted Bride rock by numbers and no groundbreaking stuff to be found here. The true Bride fans aren't exactly expecting to be shocked by something completely different by now anyhow. Bride is very much the style and sound of the two Thompson Brothers (Dale - vocals, Troy - guitars) and they're not about to change direction any time soon.

Atlantic Records 2009
Review by Alan Holloway,
18th March 2010

We are a bit behind on this one, as Halestorm’s debut album has been out in America since last April, which doesn’t exactly smack of a record company with bags of confidence in a band. Fronted by Lzzy (maybe her parents couldn’t afford vowels) Hale, they slot neatly into the “chick rock” category that is getting more and more crowded these days. Unlike many bands in the bracket, however, Halestorm don’t deliver catchy pop punk or ambitious orchestral pieces. Instead, they go more for the stadium rock vibe done so well by Nickelback, with big riffs and meaty choruses aplenty.

This is not to say that Halestorn should be shrugged off as a bunch of Nickelback wannabes with a hot chick, because that really would be unfair. They can pick up the pace with the best of them, particularly on the aggressive, melodic “What Were You Expecting”, which sees Lzzy Hale bringing her inner rock chick right out to play. For the most part, however, Halestorm produce mid paced rock stompers that are good but not great, if you see what I mean. It’s an enjoyable album, with some very cool guitar and vocals alike, but I find it hard to really get into it. There’s plenty of promise, with “Nothing To Do With Love” closing the album with pace, power and some great aggressive melody. I have a feeling that there’s a better second album coming from Halestorm, although fuck knows when it’ll reach us poor Europeans.
www.halestormrocks.com

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
13 Mars 2010

The lads of Margate steer a Power-Pop-mobile on the punky highway between Jimmy Eat World' type melodies and the sharp edged curves of Foo Fighters and Weezer. Just like Buddy Holly, huh? Seasoned L.A. veterens of the music scene, all three members (yep, yet another power-trio) of the band have played in rock bands on both coasts for over a decade. And that's should be the U.S. coast and not the Ivory of Africa (just in case you were confused there?).

They've been building up a steady fan base over the years and played top clubs in L.A., including the Viper Room, Roxy, House of Blues, Knitting Factory, Derby, Hard Rock Cafe. This is their sophomore album, "On The Other Side", featuring quite so cleverly structured songs and fun arrangements, that's if you're into punky power-pop of course. The band's attempt to blend in some straight (hard) rock riffs goes overly o.k., but it's not like it's a big part of their sound or anything. Nah, this is more skateboard than headbanging tunes, and the music conjures up "happy" memories of a very young Urban (that would be yours truly), trying to master the board on wheels. I spent more time taking care of my wounds than on the actual skate though... useless piece of %¤#¤@"#¤!

Silverwolf 2010
Review by Urban "Wally" Wallstrom,
12 Mars 2010

How to describe the lead vocals of Sindre Antonsen? "Typical" of the German Metal tradition somehow, even though he's definitely from Norway. Very hoarse, yet, high-pitched at the same time? Antonsen would clearly not qualify for the vocal Olympics under any banner, but it's not like he's the worst singer in history. However, I do believe he's the weakest link in the band. Not because he's crap, but there's something truly annoying about his work and style (in my opinion of course).

Transubstans 2010
Review by Urban "Wally" Wallstrom,
12 Mars 2010

'Jams, flutes, vintage bass melodies, spaced synths and extra long tracks'. Sounds like your kind of melody? Simply pick up the latest offering from the First Band From Outer Space and you'll be rockin' althrough the nights. It's the third album by the Swedish spacerockers and more proggy than their previous two. It's a groovy kind of love and melodies which any old fan of Hawkwind, Gong, Iron Butterfly, and sometimes even Pink Floyd, could believe to be the second coming of the last days (and daze for that matter) of the later flower-power era.

Are you a flower child? No? How about a mad hatter? It really doesn't matter as the arrangenments are mixed up with improvisation components so the acid musicians can articulate themselves and their musicality (read: have another go at the bong). The improvisations are sort of free and often framed within a specific key or rhytm (makes it easier to have another go at the bong). The band also experience free form divisions that sometimes flip out and sound really psychedelic (too much bong!!!). The (horrible) Swedish "progg" era of the seventies (a bunch of mad hippies in my opinion) with the likes of November, Kebnekajse, etc. can also be heard in their music.

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
15 Mars 2010

Some of you may recognize the crafted singer/frontman from his days as Kevin Lee and The Lonesome City Kings. They were signed to MCA in the nineties and worked with the Grammy-winning producer Frank Fillipetti (Korn, KISS, Foreigner) and Don Dixon (REM) to record the CD, "Restless". He's been recording solo albums ever since 1998 though and MTV has been using many of his songs for their crappy reality shows and games. Do you recall when "M" used to stand for music in MTV??? It's sort of hard to believe nowadays.

The Chicago based Kevin Lee still work in the tradition of power-pop and hook-based rock. 'Lonesome City' is no longer on the table as it's merely "the kings" as the backing band as of presence. "Dusk Till Dawn" is a brand new six-track EP, co-produced by Rick Barnes (Smashing Pumpkins, Lucky Boys Confusion) it's less about studio magic and more about straight and simple rock. I like it, it's sort of back-to-basic... the echoes of the late sixties rock mixed with the eighties, plus a more up-to-date modern sound and production. The closing track, "Time Won't Stand Still" is a real gem and a lovely mish-mash of influences from the likes of Roy Orbison, Tom Petty, and modern day guitar rock.

Indie 2010
Review by Alan Holloway,
3rd March 2010

This is one of those that divides opinion right down the middle, with some seeing it as a shameless cash in and others as a right good laugh. Steel Panther have paved the way for retro irony done with style, and now it’s the turn of the Loud & Clear boys to try and get their paws on some of that filthy lucre. Yep, after delighting the crowd of Firefest 6 with a creative mix up of “Don’t Stop Believin” and “Enter Sandman” (aka “Don’t Stop The Sandman”), Loud & Clear have gone the whole hog and created an alter ego of a band whose biog says they were marooned on a desert island with only a teenage girls beatbox for company. Or something…

The formula here is deceptively simple. First, take the riff from a well known 80s rock song, like “Living On A Prayer” for example. Next, take another well known song then cut & paste the lyrics over the top of the first song. The example we will use here is “Living For The Weekend” by Loverboy. Then, just squish them together like a peanut butter and jam sandwich, throw in the guitar refrain from “Sweet Child Of Mine” and you have a very entertaining song. No, really!

If the above sounds like a Frankenstein experiment gone wrong to you, then just maybe this isn’t for you. The thing is, this could have been awful but is saved by the talent of the guys involved and the respect for the source material. Jess Harnell is a really talented vocalist who easily handles the different styles involved, and the rest of Loud & Clear back him without breaking a sweat. At times you can’t help thinking that this is the work of an evil genius, such as when you hear “Heaven & Heaven”, an improbable but impressive mash of “Heaven” by Bryan Adams and Warrant’s song of the same name. If that doesn’t grab you, try the absolutely perfect mix of “I Love Rock & Roll” and “Pour some sugar On Me”, called, naturally, “I Love Sugar On Me”. As for “Dreamin’ Of A Whole Lotta Breakfast”, there’s three songs involved but you’ll have to guess which ones! To be honest, that’s half the fun sometimes, even when the likes of Paula Abdul and Aimee Mann are involved.

So this is both inspired and insane, evil and divine, majestic and mad. With that said, I can’t help playing it. Steel Panther gave us memorable 80’s rock tunes with rude, clever lyrics. This was fine, but comedy songs always have a limited shelf life and I haven’t played it in an age. Rock Sugar, on the other hand, have made an album that is much more clever than it is funny, and more entertaining than it is a novelty. Not everyone’s cup of tea, or stick of rock, but if you like it, you will love it.
www.rocksugarband.com

Frontiers 2010
Review by Kimmo Toivonen,
04 March 2010

Crazy Lixx' first album "Loud Minority" contained some excellent songs ("Make Ends Meet", my #2 song of 2007 for example), but a few more or less filler tracks held it back a little. On "New Religion" the band raise the stakes and present us a fine album, again with some really excellent songs, but with less fillers. That's a recipe for success I believe, especially when an extra boost has been given by producer Chris Laney. He produced the band's previous album too, but this one sounds even bigger and better.

Together with the new guitarist Andy Dawson, band's singer and songwriter Danny Rexon has put together a cool, varied set of songs. They range from Aerosmith'y swagger to almost AOR'ish sounds, with lyrical themes ranging from the "standard" glam subjects to darker, more serious subjects.

The first half of the album doesn't leave a lot to be desired, with killer tracks like "21 'Til I Die", "Blame It On Love" and "Children Of The Cross" being my personal favourites. I have to mention "My Medicine" too, as it manages to sound like the love child of "Unskinny Pop" and "Pour Some Sugar On Me"! Infectious stuff and gloriously Leppardish backing vocals. The second half doesn't disappoint either, but I just don't get such a kick out of the last six songs as I do of the first six ones. Don't get me wrong, most of them would be highlights on a lesser album, each one armed with a big chorus (well, the 46-second instrumental not withstanding). The Bon Joviesque ballad "What Of Our Love", the heavier, Skid Row-like "Witching Hour" and "Voodoo Woman" which reminds me of Baton Rouge are all perfectly good songs, but the competition they're facing is tough - we're talking about "Song Of The Year" calibre.

The band says that "We set out with one goal, and that was to beat the living s**t out of Loud Minority with these new songs". While "Loud Minority" hasn't been totally beaten, there's no question which album is the winner of the fight... let's wait and see if the album number three throws both of these out of the ring!
www.crazylixx.com
MySpace

Mystic Production 2010
Review by Urban "Wally" Wallstrom,
5 Mars 2010

Votum have existed since 2003 and "Metafiction" is their sophomore album. It's a seven song concept album with enchanting vocal parts and haunting keyboards. The main thing about Votum is that although they are Polish they sound thoroughly and honestly like they're British. Sure, they haven't been brought up on deep fried mars-bars and black pudding (thank God!), but there's hardly any singing accent to be found and they could nearly compete with the likes of Porcupine Tree and Dream Theater. The latter is obviously just a matter of taste...

The opening trio of "Falling Dream", "Glassy Essence", "Home", are all great tracks with proggy riffs, soaring vocals and those sweeping keyboards filling out the sound. It's emotional prog-rock with a rather dark and sad texture. Very atmospheric and certainly ambitious work. These tracks really sets the tone for the entire disc with its compelling structure and captivating sound. The lyrics are definitely thoughtworthy and binding material for the compositions. The vocals are James Labrie-ish but in reality the work of Maciej Kosinski.

Note to some of you besserwissers out there: don't make fun out of Polish acts just because they're from Poland :-). Yeah... I know that some of you are probably (still) stuck in the eighties mindframe. Broken English, horrible lyrics, and an overall crappy sound and production. Ladies and gentlemen, nothing could be further from the truth. This is 2010 - the world has changed remarkable since back when and so has the quality of bands signed to record labels. I'd hate to think that some of your are (still) narrow-minded, but I know for a fact that you are. This is the second time we've praised Votum and this CD is even more impressive than "Time Must Have A Stop" (see archive for review).

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
7 Mars 2010

Who is Brian Dale? There's a good question if ever and I'm happy to sort you out with at least some information. Ehh.. it's merely a shame I had to ask this question myself though. Mr. Dale should/would/could have been a household name in a alternative world. He's a seasoned session drummer and vocalist with numerous CD's and jingles to his credit. You'll find him performing with acts and artists such as Joe Puerta, Les Lokey, Ambrosia, Peter Mac and Melissa Mathes, and has been a guest performer with plenty more.

"Sticks and Stones" is a lovely display of lush harmonies and music in the style of smooth and jazzy westcoast. This CD is like a lovely summer's breeze, a really kind and warm caress of extraordinary melodies. If you enjoyed the latest Robbie Dupree CD, "Time and Tide", you'll like this one too. They both come from a similar kind of musical background and influences and they even have similar CD titles or at least play on words. There's plenty of smooth 'n' jazzy piano arrangements to be found and why not try this if you're into Sade?

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
4 Mars 2010

Three cheers for the broken hearted and at least a couple of more of them for the guys of Glass Hammer. This band certainly have a long and troubled background. Not to mention a mad cult following fan base and overall weirdos all over the internet. Glass Hammer are no longer strange to average joe and the rest of the world though as the game "Rock Band" for Wii and Xbox feature two of these very songs. And what a fine record they've managed to come up with this time.

It's one part old fashioned 70's Prog-Rock, one part melodic folklore, and medieval fantasy music. It's sort of Blackmore's Night on a night out with Styx and Mike Oldfield, if you get my drift? Diversity is the key word here. Melancholy ballads, psychedelic influenced rockers and some head-banging tunes, all firmly based on Glass Hammer's previous progressive rock style. While not a "pure" concept album in the tradition sense, the lyrics still carry a theme throughout. There's a slightly more cynical and darker tone as they speak of (mid-life) crises "The Mid-Life Weird" and couple's fighting "A Bitter Wind".

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
8 Mars 2010

The Jade, Helsinki-based alternative (?) rock band from Finland. According to their info-sheet and press release of course. Not quite sure what's so "alternative" about this band really? We must have completely different issues and ideas about music genres and the whole meaning of the word. This is very much a mainstream rock CD of today, plus a dash of the old seventies glam. Alternative? I think not... but they're good... no matter what they're trying to sell us.

My interest lies mainly in the sound/songs and there is certainly a variety on their debut album, "Seconds Away From Salvation". It's actually a fun mixture of influences and sounds of everything from My Chemical Romance, HIM, to Hanoi Rocks and David Bowie. Wille Rosén's vocals swaying between an angry Bob Bryar and a posh David Bowie are ragged-edge and there's hardly a trace of the typical finn-accent of the past (great!). The playing is compelling indeed and the emotional display of such textured work as on "Everlasting Memorial", "The Flame", "Roseare Sky", will certainly have any post-emo rocker up and cheering for the home team in no time.

frontiers Records 2009
Review by Alan Holloway,
4th March 2010

Brazil is not exactly the first, or even seventeenth, place you think of when you think AOR, but Auras have emerged as the torch bearers for the Brazilian melodic rock scene. Formed in 2007, this is the bands first album (after previously working as a covers band) and with luck it won’t be their last, as it shows a lot of promise.

As melodic rock albums go, “New Generation” shows a pretty standard set of influences, like Journey and Survivor, but Auras are certainly not a cheap copy of either band. You can tell that a lot of thought has gone into each track here, with no little help from producer Dennis Ward, who has put a real shine on the music. It’s light and pretty fluffy, perhaps lacking a bit of an edge, but the songs are strong, and I challenge anyone not to enjoy the title track, which may or may not lift a bit from “Dancing On The Ceiling”!

Vocalist Gio Oliver stands out all over the place here, with his smooth, high pitched voice quite similar to Myland’s Guido Priori with a touch of Steve Perry for good measure. When he and the band hit the right spot they really flow into your head with some finely crafted AOR, upbeat and catchy, dripping with quality. They’re not quite at the top of the game yet, with a few songs that don’t really shine like they could, but for a debut from a new band this gives out all the right signals. “New Generation” is an accomplished, polished AOR record that certainly deserves your attention this year, and I hope that there’s more to come from Auras.
www.myspace.com/auraaor

Ear Music 2010
Review by Alan Holloway,
3rd March 2010

It’s been over 15 years since we last had a foreigner album when Lou Gramm popped back for the not so riveting “Mr Moonlight”. Five or six years ago original guitarist Mick Jones decided he would carry on the name, albeit with none of his original bandmates, and Foreigner were reborn. Okay, so it’s not the guys that brought you “4” and all the rest, but when a band has had over 30 members over the years what’s a few more, eh?

The most obvious change is the vocalist, as ex Hurricane guy Kelly Hansen steps into Lou Gramm’s admittedly large shoes. The big surprise is that he fills those shoes very well indeed, and to be honest sounds a lot like Gramm himself. As a result of this, his voice suits Mick Jones’ compositions and the result is an album worthy of the name Foreigner.

As with all Foreigner albums, “Can’t Slow Down” is a mix of all out rockers, mid paced smoothies and wet ballads. It has a similar feel to “Agent Provocateur”, perhaps deliberately, and could have followed that album with no problems. First and best is the title song, which opens the album. It’s oh so typical Foreigner on full blast, with cranked up guitars and a blinding chorus. If the whole album was like this it would be full marks no problem. As I said, though, it’s a mixed bag, and one that contains too many slow tracks. They’re certainly good tracks, and none make you vomit too much as they slide like syrup out of the speakers, but as Twisted Sister said so eloquently “I Wanna Rock!”

There’s plenty of interesting tracks here that will gladden the heart of any fan of the band. “Too Late”, for example, is a funky little piece that reminds me of “Head Games”, and “I’m Ready” gives Hansen a chance to rock out a bit and show what he’s got. The only track that doesn’t work as a Foreigner song is the final one, “Fool For You Anyway”, which is more of a Motown thing.

So, full marks for Hansen’s voice, and also for the songs themselves being true Foreigner tracks. On the down side is the fact that as a whole the album just isn’t exciting enough. I have to recommend this to vintage Foreigner fans simply on the strength of the songs themselves and the fact that if this was 1986 it would be seen as a classic follow up to AP. To anyone who wants an energetic melodic rock album, however, it’s just not got enough oomph to keep you interested. < br>www.foreigneronline.com

Mystic Production 2010
Review by Urban "Wally" Wallstrom,
10 Mars 2010

Virgin Snatch are huge in their homeland Poland and perhaps not quite as famous outside of their borders. This could very well have something to do with their rather lively and imagitive monicker. Hey, it's probably way too late to think about a name change by now anyhow. "Art Of Grace" is their fourth full length album since the debut in 2003 and the original line-up included bassist Pawel Maciwoda from Walk Away etc. and currently a member of Germany's Scorpions.

The line-up of present date is something of a who's who of Polish metal. Zielony (vocals) and Grysik (guitar) are both ex-Death Sea and Anal Stench (now there's a much, much, worse monicker than Virgin Snatch... yuk!). Guitarist Hiro (Sceptic, Dies Irae), bassist Novy (ex-Behemoth, Vader) and drummer Jacko.

To cut a long story short, there are many hard hitting numbers among these tracks. They're all spending time and space in between the aggressive metal of Celtic Frost and Pantera - to the more sophisticated Thrash of Testament and Exodus. It would be sort of impossible to please all fans of the above mentioned acts and genres. However, a song like "Horn Of Plenty" with its mindblowing groove and structure, could alone work as a foundation to build upon and something which will make you want to spend money on the CD. The rough 'n' ready approach is the perfect foil for their heart-felt take on metal. This is loud, ugly, and vocalist Zielony sounds like Phil Anselmo 'ala "A Vulgar Display Of Power". Obviously not quite as impressive, but hardly miles away. The track, "M.A.D. (Make A Donation) is frankly just brutal metal at its best.

retroactive 2009
Review by Alan Holloway,
3rd March 2010

Okay, it’s Christian Metal time at Rock United, starting with Saint, an Oregon based band who started off back in the Eighties and are having a go at a comeback after a lull during the 90s and early 00s. Good for them and all that, but not so good for me.

I have no problem with Christians rocking out, as long as they do it well. A few lyrics about Bod Almighty can’t spoil a good tune, something Stryper have proved many times. Saint do their best, but sadly their best just ain’t good enough. What we have here is very traditional heavy metal that chugs along with all the excitement of a church jumble sale. There’s just nothing that makes you sit up and actually start to enjoy yourself, and eventually it just fades into the background, like any number of old school Judas Priest wannabe’s did all those years ago. Yeah, there’s a few good guitar licks, but that’s nothing special these days. This is the sort of music I would expect a bunch of wt behind the ears teenagers to come up with as their first attempt, at which point I would tell them to start over again and do it with some bloody passion next time. Saint don’t add anything to either Christianity or rock music with this, and I feel that if they weren’t a Christian band th ey wouldn’t even be getting this sort of publicity. Avoid like it’s waving Satan’s hairy nads before it. br>www.saintsite.com

Silverwolf/Gordeon 2010
Review by Urban "Wally" Wallstrom,
10 Mars 2010

The Retaliation Process? We'd love to have been a fly on the wall during the band's process of coming up with their monicker. It's like, what kind of music are we playing? It's loud, brutal, roots-honoric, thrash/death metal. OK. How about Milli Vanilli? Nah. already done. The same goes with Engelbert Humperdinck (hump a what?) and Boney M. However, at least two of the acts have something in common with The Retaliation Process, since they're all from Germany (and bonkers, you forgot about bonkers).

Brennus 2010
Review by Urban "Wally" Wallstrom,
8 Mars 2010

Toyz - serving more as an warning example to all the other acts than a purpose of its own. Nah, that's a bit harsh, I guess? We've certainly not been kind on these guys in the past. I believe they scored a recording deal with U.K.'s Escape Music and released a rather (to say the least) dodgy CD in the early 00's. Khalil must have owned someone a favour since I can't for the world figure out why they were signed in the first place? Dubious business? Nah, certainly not. "Carte Blanche" is their second attempt at world domination and it's all spinal tap and bad news. Unimaginative Melodic Rock (AOR) and arrangements. Dodgy material and songs where only a few have a little spark of life in them (such as the semi-catchy opener of "Angel").

Universal 2010
Review by Kimmo Toivonen,
01 March 2010

Sirens howling, helicopters flying... that kind of an intro might make you expect something serious and dramatic, but "Feel My Heat", the opening track of Reckless Love's debut is anything but serious. Containing lines like "Doctor Doctor Gimme Love / Don't Forget Your Rubber Glove" the song is a feel-good glam rock anthem that showcases what's to be expected of the rest of the album... or so one would think.

"One More Time" was the first single and a damn catchy track it is too. I'm quite sure that Pretty Boy Floyd or some other obscure glam band (or dozen of them) have used that chorus before, but who cares when it still works this well. "Badass" hints at the band's past as Guns'n Roses cover band, sticking out as the "nastiest song" of the album, and in my books as the weakest one as well. Next up is the stompin' "Love Machine", and you'd be excused for singing "put another dime in the jukebox baby" during the chorus... but hey, I Love Rock'n Roll too.

The band's hit "Beautiful Bomb" should be familiar to some of you, and goddamn it, it's one of the most instantly catchy tracks I've heard in a long time. "Romance" has been chosen as the third single, and they've could've done worse. It's a hugely melodic hard rock song, a bit darker than the others but with an immensely effect hook in a classic Bon Jovi vein. And now that we're talking of hits, I'm pretty sure that the ballad "Sex" will end up as one. Heavy on the synths and blessed with another killer chorus, this song proves again that Reckless Love is more than a one-trick pony. If the powers that be finance a stylish video for this one, the results might be astronomical. Unless MTV and others freak out over the title.

The synths keep on pulsating on "Back To Paradise", a rather catchy little disco-hardrock track with Kiss' "I Was Made For Loving You" as the easiest reference. It reminds me even more of late eighties' Swedish pop hard rockers Sha-Boom though. "So Yeah" is a track that I really didn't like after first listen or three, but now after a dozen more, I've grown more fond of it. And here's a couple of comparisons of the most obscure kind: the song reminds me of D'Molls and Fate. Who? Youtube 'em.

"Wild Touch" is one of my favourite tracks of the album, the chorus is quite superb indeed. The vocal melodies of the verses bear a striking similarity to those of Blondie's "Call Me", but we won't let that bother us, okay? The closing track of the album is a summer rock anthem along the likes of Bon Jovi or Blue Tears, and it ain't hard to believe that Reckless Love were "Born To Rock / All Summer Long".

Although this album is made of tried 'n tested ingredients, it's still a fresh-sounding, energetic disc with an infectious vibe. The production by Ilkka Wirtanen sounds like a million bucks, vocalist Olli Herman sounds more at home here than in his previous band CrashDiët and an extra mention must go to the guitarist Pepe, who's a bit of an axe hero really. Also, the background vocal work is tremendous throughout the album. I take it that you've figured it out by now, but just to be sure: recommended!
www.recklesslove.com
MySpace

AOR Heaven 2010
Review by Alan Holloway,
25th February 2010

The way melodic rock music is today, it can be hard for musicians to make enough to live on by being in just one band, and vocalist Tony Mills certainly doesn’t mind lending his golden tonsils to a variety of projects. His myspace page lists as many as eight current projects, including new albums from TNT & Shy as well as this little gem. Written by Mills and Frontline guitarist Robby Boebel, the band is completed by Hutch Bauer and Rami Ali, both also of Frontline. Due to the shared writing credits, however, this certainly isn’t just Frontline with a new singer.

The last Mills album I reviewed was China Blue, which I was very nice to, and I’m happy to say that “State Of Rock” is just as good as that, if not better. The sheer consistency of the song writing on display here is impressive, with every track demanding “just one more listen”, and choruses that rattle round in your head long after the CD has stopped spinning. The whole thing is ballad free so there’s no slow down, something I am very happy with. The guitar technique from Boebel is varied and never less than entertaining, whilst Mills is, well, Mills. Regardless of what you may think of individual releases, the man always seems to give 100%, and this is no exception. High of register and perfect of pitch, he goes for each song full pelt, bringing his unique stamp to bear. If you’re not a fan of his voice then this isn’t gonna change your mind, but for anyone else it’s a great album.

No song really leaps out above the rest, but this is because they’re all equally good, full of melody with a strong backbone. “A Point Of Destiny” isn’t going to change the world, but in the end it’s as strong an album as any melodic rock fan could want.
www.stateofrock.net

Chrome Dome Music 2010
Review by Alan Holloway,
25th February 2010

It’s been a few years since we heard any new material from Steve Newman, the veritable one man band behind seven previous Newman releases. He first came to my attention with “One Step Closer” back in 1999, but I’ll admit I lost track of him until seeing him at Z Rock last year. The performance and subsequent t Best Of album was the kick in the bollocks I needed to remind me of just how good this guy really is. As a result I’ve been looking forward to this new album and am glad that it completely justifies his position on the bill for this years Firefest.

The album starts off a bit oddly, with over a minute of news reports about dead pop and rock stars mixed together. There’s Cobain, Hutchence and Jackson all lining coffins, paving the way for a very lively song called “Hero To Zero”, about the price of fame. Although the intro is certainly odd and a bit overlong, the song that follows sets the tone for the album perfectly. It’s fast, melodic and catchy as hell, something Newman has a real talent for producing. There’s no true influence here, and instead you can take several bands and throw them all in to get an idea of the Newman sound. Try Brother Firetribe, Ten, H.E.A.T and Foreigner (but not the wussy stuff) for starters and you’ll get some idea of what we’re dealing with. When Newman turns on the power he is simply brilliant. The faster tracks on “The Art Of Balance” are by far the best, and “Edge Of The World”, “Endless” and “Stronger” kick some serious ass. There are plenty of mid paced tracks as well, with some admirably fiddly guitar work throughout. As well as playing and writing the majority of the album, Newman also delivers a great sound as producer, one I can’t fault in any way. Vocally, he’s always had a strong voice, and whilst not one of the greats he has a similar range to Eclipse’s Erik Martennson which shows he is no slouch in this department.

It’s not all pom poms and trumpets, however, as a couple of tracks just don’t grab me. There’s “Stay With Me”, a rather drippy love song that could have come from a hundred artists and still been rather unexciting, and “Break It Again” is catchy enough, but seems like there’s a better song trying to get through. These are, admittedly, rather minor quibbles but that’s what I’m here for. That aside, I really like this album, and I even like the big wet ballad “Forever”. If you’re the sort of person who goes to Firefest (or wants to) and appreciates solid, guitar driven, catchy melodic hard rock, then Newman is someone you really need to be introduced to.
www.newmansound.com

Stormvox/Playground 2010
Review by Urban "Wally" Wallstrom,
28 February 2010

Nag, Nag, Nag!!! Gee... I'm really fed up with the new H.E.A.T. single as the refrain kicks in for the 42nd time. And it's not "Beg Beg Beg" for the record, they're actually singing "Beg" x4 as in: "Beg Beg Beg Beg". It's the worst kind of chorus really (like a broken record on repeat) and I can't believe they decided to release this as the first single from their upcoming album. It's like a bad case of encephalitis - a complete meltdown - a typical at-the-end-of-the-album track - the result of poor managment???

Spinefarm 2010
Review by Alan Holloway,
25th February 2010

Brother Firetribe are the band that took the melodic rock world by surprise, lobbing together several Finnish musicians in a band called False Metal some eight years ago, finally settling on the silly moniker we know them by today. As a band, they are unashamedly melodic, happy to bring back those days in the eighties when you could drive with the top down and a Bon Jovi tape on without embarrassment. We’ve been waiting for them to come to the UK for what seems like forever, but with various band commitments it hasn’t been viable. To tide us over the band have released the live DVD and CD “Live At Apollo”, filmed in Helsinki nearly a year ago.

The art of the live DVD is a pretty simple one. All we really want as a fan is a clear sound, a few different camera angles and a good set list. I’ve got over 60 in my own collection, and I have a feeling that this is one that I’ll be coming back to as often as Goo Goo Dolls’ “Live In Buffalo” or FM’s “Back In The Saddle”. the main reason, I suppose, is the fact that the whole set is full to the brim with upbeat, fun songs that are always a pleasure to listen to. With only two albums to choose from BT aren’t yet tortured by a difficult set list, and there’s fourteen tracks here with nothing that slows down the flow. My personal favourite “Chasing The Angels” is included, as is the catchy as fuck “One Single Breath” and the storming set closer “I Am Rock”. Guitarist and smiley man Emppu is reunited with his Nightwish singer when Anette Olzon comes out to reprise her studio performance on the excellent “Hear Full Of Fire”, and it’s good to see her sounding great and looking very happy to be there. Vocalist Pekka Heino is in fine voice throughout, and the only complaint is that he sometimes feels a bit low in the mix. There’s no stage set to speak of, as it’s only a moderate sized venue, but with Brother Firetribe it’s all about the music, and these five professionals don’t put a foot wrong.

If you are a fan of the band then this is an essential purchase, and if you haven’t yet been introduced to their brand of high energy pop rock then this will serve as the perfect starting point. Join the Brotherhood and let those good times ROCK!
www.brotherfiretribe.com

Retroactive 2010
Review by Urban "Wally" Wallstrom,
25 February 2010

Sweet C's second album, "Breakin' The Ice" from the year of 1978 and there are plenty of horns to be found here. You have the trumpet, fluegelhorn, tenor and alto saxophone, flute, and trombone. Indeed, the shole she-bang and actually a rather typical 'west coast' sound of the groove era of sideburns and dodgy haircuts (or rather the complete lack of the latter).

Sweet Comfort Band is thought of as one of the first christian rock acts (alongside, Petra). They came together in 1972 and recorded a total of six albums, starting with their self-titled album in 1977 on Maranatha Music. Retroactive Records has reissued and remastered the five albums originally released by 'Light Records' between the years of 1978 to 1984. The band transformed from a soft 'west coast' sounding act to straight AOR during these years and the line-up consisted of Bryan Duncan (vocals/keys), Randy Thomas (guitars/vocals), Kevin Thomson (bass) and Rick Thomson (drums/vocals).

Retroactive 2010
Review by Urban "Wally" Wallstrom,
28 February 2010

"Hold On Tight!" from 1979 sees Sweet Comfort Band treading a far more basic and mainstream approach than ever before. They have now expanded and developed their groove sound and have transformed themselves into a more straight-forward act. The songs are more direct and piano/keyboard based with a nice structure and formula. However, it's very much still the soft 70's 'West Coast' sound though, don't expect any shredding guitar metal or over-the-top arrangements here.

They do have a slight reference to "Pomp" on a couple of the tracks. Inevitably, the heavy horn section thump and nicely vocal harmonies on the title and opening track, "Hold On Tight" conjure up some magical moments of 'Chicago' music. "Take It - Save It" is smooth as a summer breeze and the gorgeously laidback, "Falling Star", could just possible be the perfect marriage between Air Supply and 10 CC. Sweet, sweet, melodies, accomplished by top class performances is the overall formula here. Excellent production too by the way.

Retroactive 2010
Review by Urban "Wally" Wallstrom,
27 February 2010

Nr.3 in the series of Sweet Comfort Band reissues by Retroactive Records and the band's overall 4th release (originally released in 1981). "Hearts Of Fire" opens up with a spot on description of what happens when you met a shady lady named "Isabel". Nah, it's a more like a test of faith and lyrics that goes: 'Isabel you're a new creation, Isabel, you're not alone in this situation'. It's a great soft AOR/Pomp semi-rocker in the vein of Toto and just a hint of Prism.

Retroactive 2010
Review by Urban "Wally" Wallstrom,
27 February 2010

Listening to the opening track, "Runnin' To Win" - I finally got it!! It's been driving me crazy for days!! I just knew these kind of lead vocalist from somewhere else. No, not the same voice, but a similar one. Eric Martin of Mr.Big fame, and especially the way Eric used to phrase his words during the solo career in the early/mid eighties. Seriously, Bryan Duncan is an overlooked talent or rather an underrated vocalist in the rock world. He's got that extra bite, plus sheer emotion, and will swiftly switch from crush to utter smoothness. Top class performer!

It's now the year of 1982 and Sweet Comfort Band has transformed into a pure AOR/Pomp act. Wave goodbye to the 'West Coast' sound and say hello to superb rock in the vein of Balance, Fortune, Spys, Journey and Foreigner. They were the CCM version of all above mentioned acts somehow and Sweet C' managed to create a really impressive album here. It's the "Cutting Edge" of the sound of its era and the vocal harmonies inside an overtly 'L.A.' framework works just beautifully with these melodies. And yes, you may find the occasional saxophone solo, but it's overall more straight AOR.

Retroactive 2010
Review by Urban "Wally" Wallstrom,
25 February 2010

The sixth and final vinyl release by Sweet C. Released in 1984 and produced by Dino Elefante (Pakaderm) with brother John (Kansas vocalist at the time) on background vocals, it's SCB's most pure 'AOR' sounding record of them all. You could almost say it's the first 'Allies' album, since guitarist/vocalist Randy Thomas continued to pen down catchy melodies such as these on their self-titled debut in 1985.

The opening title track is a pure joy to listen to. Soaring vocals by Bryan Duncan and typical keyboards of its time, it's one of those songs that will bring a smile to your face. "You Led Me To Believe" is a really classy piano ballad in the vein of Petra and Survivor. Almost every single track on "Perfect Timing" stands out... one way or the other. There are a couple of poor moments too and especially closing track, "Neighborhood Kids", sounds like something that would/should have been better off in the trash can.

Frontiers 2010
Review by Kimmo Toivonen,
24 February 2010

Note to all bands attempting a "comeback": this is how it's done. Treat have managed to do what many others have failed - to create a comeback album that is as good or even better than the albums of their glory days. All the elements that made the early albums so good are still intact - the massive melodies, riffs, keyboards and Robert Englund's unmistakable vocals - only given a bit of a contemporary production sheen. What's more, the band's lyrics have matured with age, just listen to a song like "Paper Tiger" for instance. They've come a long way from "scratch'n bite, all night" or "too wild, too wild, too wild to tame".

Among the 13 songs (and an intro) you'll find a handful of real AOR gems which will most definitely rank as highlights of 2010. The aforementioned "Paper Tiger" is one, as are the almost symphonic "Skies Of Mongolia" with its' superb hook and great keys, the mid-tempo AOR hit "We Own The Night" and the insanely catchy "I'm Not Runnin'", which oozes commercial potential. The ballad "A Life To Die For" could very well be a hit for the band too with the right exposure. The chosen first single is apparently "Roar", which is an excellent song, but I do wonder whether "I'm Not Runnin'" or "A Life To Die For" would've been more potential radio hits. Especially "I'm Not Runnin'" sounds like songwriter Anders Wikström has crystallized all of his knowledge of writing pop hits into one song, and given it a... TREATment, if you excuse the pun! If everything else fails, he could always sell the song to Bon Jovi, they could surely use a track like this...

Being a "10 out of 10" album, even the (very few) weaker songs of "Coup De Grace" are way above average. "All In" is probably my least favourite track, but it's still a very decent song, one of the more hard rocking or even metallic songs of the album. Yep, there's no skipping required when listening to this one!
www.treatnews.com
MySpace

AFM Records 2009
Review by Alan Holloway,
22nd January 2010

This one is a little overdue, so sorry and all that, but things have a way of getting lost in my thoroughly disorganised hard drive, which is the computer equivalent of a filing cabinet that has been tidied by a blind ogre with no thumbs and an allergy to the alphabet. Anyway, I rediscovered the French power metalller’s fifth album this week and have been having a great time with it.

Ostensibly, this is definitely a power metal album. There’s soaring vocals, technically twisted guitars and anthemia choruses, which is all fine when done well, and Heavenly do it very well indeed. Sometimes, though, you need to stand out from the crowd, and Hevenly certainly do that by infusing their songs with some marvellous classical touches and some marvellous channelling of Brian May and Freddie Mercury. The Queen influence is the most obvious, particularly on third track “Farewell”, where vocalist Ben Sotta gives it the full Mercury stylings whilst backed by a very Queen like piano arrangement. This isn’t like The Darkness ripping off Queen, this is more like the best song Queen never did. Some may hate it because of that, but it’s still a really amazing track, full of passion and Brian May guitar licks. The same format is revised for “A Better Me” to similar effect, and it’s good that it’s just two tracks out of nine, so the idea doesn’t get old.

Classical music is covered well in “Ode To Joy”, which says it all really. It really reminds me of Roland Grapow on his “Four Seasons Of Life” album, and anyone who has heard that and enjoyed it will get a real buzz from “Carpe Diem”. Aside from these three tracks, the album is a very good piece of very melodic power metal. Each and every track is fast paced with plenty of melody and operatic touches. Naturally, the guitar playing is exemplary, certainly good enough for Dragonforce fans to enjoy, anyway, I never knew the French had it in them do deliver this sort of thing so well, and you can certainly count me as a Hevenly fan from now on.
www.myspace.com/heavenlyofficial

Retroactive 2010
Review by Urban "Wally" Wallstrom,
15 February 2010

If there's merely one underrated Thrash/Speed Metal album of the late 80's you need, surely this must be it? It's so darn underrated and close to "obscure", that I completely forgot about it when we (RockUnited) did this year by year special: Retromania - Back To The Eighties. It could simply be that I didn't have this on CD before (merely a dodgy tape somewhere lost along the way and years) and thus haven't played it in ages. All apologize to the band as this is one classy record and easily in my list of the year.

Deliverance were (more or less) the first christian metal act to play 'Bay Area' Speed/Thrash in the eighties. They came from Southern California (L.A.) and played the local scene for several years without a recording contract. Their self-titled debut from 1989, originally released at Intense Records and now remastered with 2 bonus track by Retroactive Records, - a lovely mix of Thrash/Speed 'ala Metallica and Death Angel, plus a healthy dose of the very early sound of Queensryche and/or Sacred Warrior.

AFM Records 2010
Review by Martien Koolen,
11 February 2010

This is the fourth studio album of former Savatage shouter Jon Oliva. JOP's former album Global Warning was a masterpiece of melodic hard rock. Festival is a more metal-oriented album; a mix between Savatage's Hall Of The Mountain King and JOP's second album Maniacal Renderings. The sound on this album is rather bombastic and more in your face. Besides that, Festival is also a more darker album, this is maybe due to the fact that Oliva was inspired by a nightmare for this album...

Tracks number 1 till 5 are all rather heavy and especially opener Lies and Living On The Edge will become true metal JOP classics. If you like the more melodic and experimental side of mister Oliva, then you should check out Looking For Nothing, or the piano ballad Now. Again like on all his other albums there are no fillers on Festival and most of the songs are extremely suitable to be played live (on a festival...).

My personal fav is without any shadow of a doubt: Winter Haven, which is a very varied song. It kicks of as an amazing melodic ballad, but then it turns into a real headbanger song!! This is a really kick some ass track.

Lion Music 2010
Review by Kimmo Toivonen,
16 February 2010

It's "Dushan Petrossi's Iron Mask" actually... When a guitarist insists on having his name on the album cover, there's always a good chance that the actual album is the kind of widdle-fest that only die-hard guitar freaks can tolerate. Fortunately "Shadow Of The Red Baron" doesn't fall into that pit. It's actually a quite enjoyable piece of melodic metal.

The title track opens the album in a grand fashion with it's frantic tempo and hymn-like chorus. "Dreams" is the one track to feature guest vocalist Oliver Hartmann, and he does a great job, adding a certain melodic flair to the song. An album highlight for sure. The band has chosen "Forever In The Dark" as the "video track", and while it's a good song with an excellent hook, I am not sure about the vocals of Goetz "Valhalla jr" Mohr. On other tracks of the album he proves that he's a versatile, capable singer, but on this track his performance is quite average and rough on the verses.

The boring, heavy doom metal of "Resurrection" is one to skip, but the more melodic "Sahara" sounds better. I wonder whether it's because of the subject, but "Black Devil Ship" reminds me a bit of Running Wild. The melodic, anthemic "We Will Meet Again" works for me, but "Universe" is the kind of widdly pseudo-Malmsteenish material that I was afraid the album would be full of. The ballad "My Angel Is Gone" is okay, and "Only The Good Die Young" is even better, a catchy melodic metal track. The grande finale of the album is the epic instrumental "Ghost Of The Tzar", which is probably a slice of pure heaven for guitar fans. For me it doesn't offer that much, and the creepy vocals (grunting the title of the song repeatedly) border on being ridiculous.

"Shadow Of The Red Baron" doesn't offer anything out of this world, but it should be a safe bet for anyone into the neo-classical metal genre. It's certainly better than any of the recent albums by Yngwie Malmsteen...
www.iron-mask.com
MySpace

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
15 February 2010

Heh, heh... mature housewife music anyone??? I love the honest, down-to-earth, tongue-in-cheek, approach of these guys. "When I write music I write for our age group" and "There are a lot of women in the late 30's and 40's who love our music", are just two great quotes from the band. Then again, these guys are just way too ogre and out of fashion to ever become the admiration of teeny boppers. Let's just say there's a very good reason for the cartoon version of the band as seen on the CD art cover.

Make no mistake though - these guys are good - darn good. Most of the members have decades and decades and decades of experience in the U.S. music scene. Keyboardist Tim Mishalianie has worked with Stevie Wonder and founder guitarist/vocalist Bob Acquaviva has producing and engineering ties to Boston (the band, not the city), including a Grammy nod. Expect a very solid production in other words.

The music is more or less a mix of late 70's and very early 80's AOR music and Westcoast. There's a lot of the latter going on actually and it's all Steely Dan, Air Supply, Toto, Robbie Dupree, Doobie Brothers, etc. You know, 'Yatch Music' or whatever you'd like to call it. Opening number, "Wake Up World" is actually the weakest track of the CD in my opinion. It's so 'juvenile' in comparison to the following ultra smooth rock of "Always Faithful (Semper Fi), "Just Believe", "(Shine) Down On You", "Learn To Love Again". These tracks are 'west coast' right down to their shoe-laces and it's all very impressive. Lovely vocal harmonies, killer percussions and beats, plus excellent musicianship. "Seal The Deal" is another uptempo track that doesn't really compute, before they get right back to the smooth laid-back sound again.

Impulsia Music 2009
Review by Kimmo Toivonen,
15 February 2010

Swedish Impulsia is more of a star-studded project than a regular band, with songwriter Uno Sjöström, producer/guitarist Marcus Jidell (Royal Hunt) and vocalist Johan Längquist (Candlemass) behind the wheel. The musical style is laid-back melodic rock, sometimes reminding me strongly of late nineties Coverdale material ("Restless Heart" and "Into The Light" albums). Take the song "Too Many Heartaches" for instance - the chorus does sound similar to Whitesnake's "Too Many Tears"...

Vocalist Johan Längquist has a good voice for this kind of classic melodic rock, very Coverdale'ish but also with a touch of Glenn Hughes I'd say. The star of the album is Robin Beck though, who sings lead on three of the songs, reminding me once again why she is one of my favourite female vocalists (or vocalists in general!). Another lady who sings on the album might come as a shock to some - the 90'ies eurodance queen Pandora! I wasn't so shocked though, as I've seen her on stage a few years ago, and with a proper band behind her, she came across as a decent pop-rock singer.

The highlights of the album are the Robin Beck-sung "Fly Away" and "Alone" and Längquist's "Rosa Lee". I also like the cover of "Layla", which sounds good with the heavier guitars and strong vocals.

Another thing worth mentioning about "Expressions" is that it is the last studio album to feature the talents of bassist Marcel Jacob, who passed away in 2009. May he rest in peace.
www.impulsmusic.se

MeteorCity 2009
Review by Urban "Wally" Wallstrom,
13 January 2010

To say that Village Of Dead Roads are melodic is an insult to any and/or all bands of the genre. However, they do have melodies (it would be awful quite otherwise) and they come up with some intriguing music on their full lenght debut, "Desolation Will Destroy You". They're more about gloom and doom than cheering for the home team though, and this is an CD for the serious misfit, borderline, schizo case.

There are merely 8 songs on display here, but they're all deeply desturbing in a morbid way according to the band of course. There's a picture of a young lad who's committed suicide by hanging on the inside of the digi-pak (eco-pak whatever?) and that's a real setter of mood, standard, and tone of the entire album. We are not here to entertain you - but you might experience a "slight" depression by the end of the CD. Thanks lads. It's somehow charming to see that there are some people in this world who still believe in the future of mankind. Future? what future??? There's no future!!!

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
13 February 2010

Hoodoo wanna voodoo? do ya'? Trance Dance? Nah, this is some kind of swamp monster from the darkest depts of St. Louis, USA. 'Dust And Bones' are your local barroom boogie kind of band working in the tradition of the old sleaze/blues sound and AC/DC. Yes, it could be Jackyl, it could be Kix, it could be Broken Teeth, well, it could frankly be any of the 100,000's of similar bands and CD's throughout the years of hard rock and heavy metal.

It's not a poor record, there's no crappy musician to be found here, it's just not very original. The opening, "She's On Fire" is probably Dust And Bones' closest thing to a "hit" single. This party rocker comes with a wicked beat and guitarwork in the school of Angus/Malcom. Vocalist Nick Elmore have the trademark raunchy vocals and plays a mean harmonica. Not to mention their strangely named bass guitarist, Big Dawg (I guess we did mention him after all).

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
13 February 2010

The dutch Prog-Rockers of Chinawhite and their latest offering, "Challenges". I've been following this band since the late 90's and I do and did enjoy some of their earlier work (see our archive for reviews of the 2000' release 'Breathe Fire', plus some EP's). However, I must say that I ended up quite disappointed with this one. It's like an unfinished painting with mad barking children running around without their heads and tails on a meadow full of playing dogs. Huh?Ehem, not a pretty picture, I asure you.

The production is a mess where the vocals are buried way deep in the mix and have to struggle to make any sort of impact whatsoever. There's a mad roaring Hammond right in your face and you wish it'd go away if only for a couple of minutes. It's like listening to Uriah Heep on a bad acid trip or something. It's simply just too much of a 'good thing', if you catch my drift? Plus, some of the tracks are very similar in structure and arrangements and it's actually quite difficult to tell them apart.

Metal Mind Records 2010
Review by Martien Koolen,
11 February 2010

This is the first DVD of one of the best Polish prog metal bands, Riverside. For those of you who have never heard the music of this amazing band, this is your change to see, hear and be amazed. Riverside's music is a blend of notorious bands like Opeth, Pink Floyd, Porcupine Tree and Tool. This debut DVD was recorded during a mini-tour in Poland back in 2008 and it features an more than 2 hour gig with great songs like: The Same River, Second Life Syndrome or Volte-Face. The sound quality is superb and the band shows what they are capable of, especially the guitar parts and solos are out of this world!!

The second DVD contains 7 live performances of Riverside in Germany, The Netherlands and Canada. Furthermore you can enjoy a documentary called: "Behind The Curtains", a film made by John Vis.

This is truly a must have DVD for fans of Riverside, but also for fans of great progressive rock music.

Pussycat Records 2010
Review by Urban "Wally" Wallstrom,
8 February 2010

"Murder 101" is a real monster of a song. It's one of those tracks that alone could justify the purchase of "Never Say Die". There is an underlying groove amongst the old Bon Jovi and Warrant influences that ensures that even the most bitter rocker can and will dig this. "Eruption" is yet another shock to the system and very much as good as any 'Wig Wam' pow-wow. Great vocals, good production, catchy as hell. They even have this old style power ballad (Between A Rock and A Hard Place) that would do any Cinderella fan justice.

Hensel is a new, up-and-coming, act from Oz and they are bringing the glory back to hair metal. It's stadium style schlock with grinding guitars, pounding drums, screaming solos, catchy choruses and melodies that take your breath away. According to the raving press-release of course. And yes, the band image totally sucks. The singer looks like the daft cousin of the (former) frontman of The Darkness', the guitarist is the bastard son of CC Deville, and the keyboardist/guitarist is just a mess. Yep, everything's like in the eighties. I'am however surprised by the material and the overall nice quality of the songs. They all speak of fun and party, and a couple of stinkers such as "Vampire" and "The Whole Nine Yards", won't stop this from being an impressive debut. I've been playing, "Never Say Die", non-stop for several days and it got better for each spin (up to a certain point of course).

Jackie Rainbow Records 2009
Review by Alan Holloway,
5th February 2010

Please excuse me for not being up on Vain history. For me, Vain were a band who released a great album (“No Respect”) in 1989, and gave me a great show when I saw them supporting Skid Row. That was sort of it for me until now, when I have been asked to review the “lost” album of 1991, “All Those Strangers”. Apparently this was consigned to Rock Hell after Island records went down the shitter, although some songs have sprung up elsewhere since. Either way, it’s a bit of a holy grail for Vain diehards, and there’s sure to be a few happy souls out there with the release of this.

It’s been a while since I listened to Vain, and opener “Love Drug” brings it all back, mainly because it sounds very reminiscent of “Beat The Bullet” in an “If It Ain’t Broke…” sort of way. Davy Vain’s voice was always pretty unique, often sounding like someone had electrodes attached to his balls, and whilst I don’t know if he’s still got it, in 1991 it still had all the power and angst of the debut. Added to this, the songs here also hold up well against the debut, and had I bought this back in 1991 I would have been very happy with album number two. It’s a collection of songs that, oddly, make the listener feel a bit drunk when listening to them. Take the middle of “Freak Flag” for example - it’s like staggering through a brilliant LSD trip whilst Davy Vain licks your eyeballs. Vain were always more than just a melodic rock band, and “All Those Strangers” just reinforces the individuality that they had.

Whether you were a one album fan like me or had a more long term relationship with the band, “All Those Strangers” is worth a little investment. It’s melodic, creative, angsty and moody, and a perfect follow up to “No Respect” in many ways.
www.www.davyvain.com

Lion Music 2010
Review by The Bailey Brothers,
07 February 2010

Charly Sahona is a recognised French guitar player in the band Venturia. They had an album out titled "Hybrid" in 2008. Let’s not put a tag on the typical music genre so that way you will have no pre-conception of what to expect from Charly. Having said that; the opening track sent us right down memory lane to early Rush and the 2112 album but Sahona is not of the same high vocal range. Perhaps that may be an anvil round their neck as Rush are a hard act to follow. Charley is making his singing debut and a decent effort it is, there is a youtube video of the song “ Relieved” well worth checking out. The band are as tight as a duck’s arse and so they should be as they all play in Venturia. Drummer Diego Rapacchietti looks like he wrestles bears bare handed for a hobby; a real powerhouse drummer and bassist Thomas James-Potrol looks like he’s strapped the family side board round his neck with his six string bass. This brings a de-tuned modern style and a ball kicking riff that Sahona compliments with a solid rhythm guitar. The cool thing about Sahona is he doesn’t sing or play guitar by numbers and this adds to the interest. The vocal lines are full of melody and the opening riff often returns to keep the power and energy at maximum level. I’ve seen a few youtube videos of Sahona shredding on the guitar to camera but there’s a shit load of guys on youtube all doing a version of the same thing playing fast. It’s when you take on board all that knowledge and make it work with in a frame work of a song that counts. Not only does he demonstrate his playing ability but he’s come up with some bloody good songs notably “Forgotten Past” Where he finally gets rewarded for all those years learning classical piano as a youngster. There’s a cool piano solo over a bombastic rhythm section introduced with an equally as impressive guitar riff. “River Of fears” is underpinned with yet another cool bass line and although this is a solo album you have to compliment the band for their input which is the fuel that fans the flames and make this song set alight especially when Sahona sheds his guitar solo. There’s only one filler and that’s “Living In A Dream Is Not right” It lacked any real talking point and although it came at the right time to slow the pace down it never really had much to say for itself given the spotlight.

"Naked Thoughts From a Silent Chaos" will definitely grow on you, there’s a live feel to this band and that oozes out like a cork from the party champagne all over this disc. Maybe vocal debutant Sahona had some influence on the mix and pulled his lead vocal down a shade to low at times? Or maybe my ears are shot from a lifetime of rock abuse? Who cares? I hope these dudes get their French arses over the water to the UK. It would be cool to capture this power trio live.
MySpace

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
8 February 2010

The story of Emberstorm starts out in Sweden during the summer of 2006 as a one man project and obsession. According to the info - 'The main goal of writing music from the heart was set. The intention of the album has not been to create a reflection of our inner selves, but to create reflections for the listener'. Posh? indeed. Nevertheless, the multi-talanted Peter Strömberg is responsible for music as well as production and most of the instruments on this platter.

His main obsession in life - the six-string - and the two instrumental pieces, "Horizon's Call" and "Out Of Reach", are something as unusual as ultra interesting neo-classical compositions. They remind me of guitarist Johnny Öhlin (Nation) and the stuff he used to play around with in the mid-90's. Add some of Tony Borg (Alien) and his instrumental CD and you're close to the core.

The rest of the seven tracks on this CD are all done with vocals by Peter Selin (from the band, Left Hand Solution?). The style is an ear-catching mix of Kamelot and Yngwie Malmsteen' neo-classical melodies. It's definitely borderline prog-metal and a composition such as "Day Of Destiny", could just as easily have been the work of Seventh Wonder and their "Mercy Falls". I'd say these acts are heavily inspired by Japan (the land, not the band) and their massive culture of video games and overall bombastic music. Something which became particular "obvious" during the keyboard/piano segments and arrangements on "Memories Of Time".

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
7 February 2010

Roaring out of the U.S. Connecticut scene in the late 80's, the band proudly proclaim in the year of 2010 that "This Is Our Time Now". Really? And honestly, are we not all a bit sick of press-releases that reads "the entire first half of their careers was spent fighting an uphill battle against not only the grunge bands of Seattle, but the music industry's attitude at the time towards melodic rock music". Yeah-but-no-but-huh-but-what?

Average joe and the music industry wasn't tired of "melodic rock", they were tired of all the lame-azz, copy-cat acts in the early 90's. It's just too easy to blame "grunge", and especially considering the greatness of bands such as Soundgarden, Pearl Jam, Nirvana. And how come this obese, ogre, of a wimp-rocker (read: Meat Loaf and 'Bat Out Of Hell: II) became one of the best selling artists at the very height of grunge during the year of 1993? Simply because he's got a rather "unique" and original sound. That's why.

I guess there will always be room for one more Secret Smile CD though. I believe this to be their overall 5th album since the debut CD "Anatomy" in 1994. They've built up a loyal fan base over the years and supported live acts such as Meat Loaf (speak of the ogre), Foreigner, Rick Springfield, Starship, Dokken, Winger, Ratt, White Lion, and basically any old hair metal band you can name. They are very professional at their game and a really tight unit. You really can't do anything but enjoy songs like "Wasn't Meant To Be", "Don't Want To", and "We're Sticking Around". They are so "powerpop", Boston, Franke & The Knockouts, Danger Danger, that you've heard it all before, but it really doesn't matter, since they're dead on ingredients for a good time. Catchy and fun. It's not meant to be rocket science after all.

Rising Records 2010
Review by Urban "Wally" Wallstrom,
9 February 2010

Thrashers Abadden are a U.K. foursome with one foot firmly placed in the old skool, and the other firmly placed in the new. Read old skool music with a rather annoying new skool death metal shouter at the mike. They were the young, lucky winners of a competition organized by Metal Hammer in which bands had to send in demos, and the winner was awarded time in the studio with Trigger The Bloodshed, Orange Goblin producer Mark Daghorn.

Why would anyone wish to spend time in the studio with a goblin? Well, the little creature was subsequently so impressed by the lads that he signed them to his label? Why would anyone want to be signed by a goblin? (and a orange one too). Well, it's really not our task to judge the alternative way of living and doing business. Simply run for the hills lads if he starts rambling about "the precious one".

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
8 February 2010

I do enjoy the style and attitude of The Bonesmen. It's sort of like that South Park episode with the invasion of Iraq, where anyone protesting against the war gets out of school early. You know, 'what would the Founding Fathers think about the conflict?' You know, when Cartman electrocutes himself in water with a TV, playing colonial documentaries from The History Channel in order to induce a flashback? You know, fatboy falls into a coma, and his mind travels back to the colonial era in Philadelphia.

Anyhow, I believe it's a bit too far away from my actual point. But, let's continue just to upset some. The South Park people are divided about the war, and after splitting in two, they both plan rallies: one pro-war, one anti-war. They both have a music band-aid thing: one country, one rock'n'roll, and get into a huge fight where they begin to kill each other. Then, finally, finally, Cartman wakes up from his coma and delivers his message to the town, go to war, but allow protests, "saying one thing" and "doing another". "Having our cake and eating it too". The town sees the truth of that statement and break out into song: "I'm a Little Bit Country" by the "heavy metal" act Donny and Marie Osmond.

Lion Music 2010
Review by The Bailey Brothers,
07 February 2010

Let’s cut to the chase, this is the most inferior release from Lion we have had to review. It comes under the Prog rock banner but there’s no point trying to compare them to any of the greats we have had the pleasure of playing with, such as Marrillion. If this was a new band then you could say they can learn and improve but we are informed that this is the bands seventh album and they have built up a worldwide following. Well done, you see not only Jesus can perform miracles. At the end of the day reviews are just an opinion, I never judge a book by its cover and dudes and dudettes I have tried to keep coming back to this album and find at least something positive to say as negative just equals depressing. So as I book the appointment with the doctor for my antidepressant tablets let’s sum this release up with one appropriate word: amateurish!

Under the same banner "Prog Rock" on the same label you have Charly Sahona’s “Naked Thoughts from A Silent Chaos”. How can they be so far apart in terms of quality? Sahona‘s album has good songs, brilliant playing from a power house trio, good melodies, structure and a decent vocal. The only problem with writing and producing your own album is there’s no one to tell you to pull the guitar lead out. You have to be your own critic and ruthless. Some poor kid is gonna waste money on this release so do yourself a favour forget the hype; money is hard come by in this recession. Let’s hope this is a one off as Lion Music has turned out some fantastic releases over the years and usually keep the bar at a decent level.
mastermindband.com

Silverwolf 2010
Review by Urban "Wally" Wallstrom,
3 February 2010

Warning - This CD is so friggin' brutal it will melt your face clean off!!! It's actually some kind of robot on the cover and he's tearing off his artificial human face??? Nope, I don't get it. I guess it's not really meant to be anything else than a metal art cover. You're not supposed to "get it" or find any hidden messages nor thread between the art cover and the music. You're trying too hard - just let it slide, dude. It's wikked!!!

Battalion is a new and hungry metal act from Switzerland? The band members are all between the years of 19 to 22 and they're playing old skool Thrash Metal? Yep, it's definitely a case of music being older than the performing musicians. Seriously, you will not find a note of Metal post-1988 on this platter. "Underdogs" is the name and it's been nicely produced by Tommy Vetterli of Coroner and Kreator fame.

It's an unkind, unslackening, unsparing, unholy (feel free to add a dozen or more "un" words right here), display of Thrash and Metal in the work of the early days of Accept, Anthrax, Flotsam And Jetsam, Megadeth, Metallica, Running Wild. The songs are all pretty much blessed with a hook and melody, alas, they're not as "noisy" as some of the other Thrash/Speed metal acts of the eighties. And yes, there's a big difference between the music of say: Anthrax, Flotsam And Jetsam vs. Celtic Frost, Slayer, etc.

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
2 February 2010

The Mary Major are four of the former members of the Swedish Goth/Doom/Death metal act: Beseech (Napalm/Metal Blade Records). The two lead vocalists: Lotta Höglin, Erik Molarin, Daniel Elofsson (guitars), Jonas Strömberg (drums), and new bassist, Jörgen Ström, are now working together in a completely different direction and style. It's more straight-a-head, noisy, rock and metal 'ala the sound of scandinavia and it's been mastered in the states by the legendary, Beau Hill.

Indeed, you can pick up bits and pieces of everything from Nightwish (minus the hi-pitch operatic styled vocals of Tarja) to Lambretta (Linda Sundblad), Backyard Babies, and In Flames. It's true The Mary Major's version of rock isn't exactly breaking any new boundaries, but when they bring out all the animals at once and swap vocal duties with scary regularity, you're forced to admit that these guys rock... sort of. I do miss a couple of (mary) major hit singles which could bring this CD and band to the next level. If you're playing this kind of music, well, they you're also going to need a couple of "MTV" videos. However, the material is overall strong and this evidence the second album should be the one to dispel all the doubters.

TSM/SLW 2009
Review by Urban "Wally" Wallstrom,
25 January 2010

You could be forgiven for at first regarding the female fronted First Child from Germany with a little bit of suspicion. After all, Germany gave us Doro and her lively singing accent which brought us all to tears of laughter back in the days (admittedly, after listening to some old Warlock, not quite as poor as I first believed it to be). First Child, however, aren't bad at all and their lead vocalist is a little powerhouse with hardly a shred of any annoying accent in her voice.

Cat The Cat is her name (?) and the distinctive voice is her trademark and game. Working from a range of influences that takes everything from blues, rock, glam, to pop and hardrock, this singer has an amazing range and power. She's got this bluesy, slighty "raspy" approach to her singing and I can safely name-drop artists such as Derby Mills (Headpins) , Alannah 'Black Velvet' Myles, and Doris Brendel (The Violet Hour). Not only does leading Cat(herine) also beats the crap out of her Rickenbacker and delivers some truly wicked lines on this platter.

However, the most important ability is the diversity of this CD. You get everything from Led Zeppelin rock to emotional ballads and pure eighties schlock. Opener and titletrack, 'Queen Of Heart', could just as easily have been a track off the 1985 album 'Head Over Heels' with Headpins. Next up, 'Gambler', and it's yet another homerun in the tradition of Headpins and overall bluesy, yet melodic, hardrock. "Don't Mess Around" is a slow blues in the way Alannah Myles did her stuff in the early 90's. "Gypsy Woman" is the seventies version of the Wilson sisters (Heart) with just a hint of Uriah Heep.

Winkelrant Records 2009
Review by Alan Holloway,
5th February 2010

Not, as you might think, a Dio tribute band, Sacrd Heart are a UK 4 piece who have had plenty of positive press for both this and their debut album. I first heard a few tracks of “Darkness Falls” in a local club a couple of weeks ago, as the manager had the CD on because the band are due to play soon. I thoroughly enjoyed what I heard, and then I was asked this week to review said album (a little late as it’s been out a month or two) so I could hardly say no.

It would be wrong to describe Sacred Heart as an up to date band. Their flavour is distinctly that of the old school, a heady mix of NWOBHM and early 80s American AOR, something that you don’t come across too often. Lyrically, they certainly draw from the Eighties, with shades of Dokken, Y&T and Whitesnake creeping in, with the music driven by some good melodies as well as some crunchy riffage. Vocalist Paul Stead has a good voice, but there’s not much coming over in the way of emotion, and when you imagine the likes of Dave Meniketti singing “What It Takes” for example, the song would take on a new life. There’s some nice guitar work all over the place, although some songs would benefit from a more fluid backing, moving away from the short riff based style. “Homecoming Queen” is a good example of one of the better songs, a free flowing, catchy song that gets the feet tapping from the off. Another is “Lay It On The Line”, a great song with a slight Journey vibe and a choru s that won’t quit. There’s even a very good ballad in the shape of “Forever”, which is very well balanced, weepy without being wimpy.

Sacred Heart certainly have an uphill struggle to get their voice heard, but “Darkness Falls” is certainly a step in the right direction. What I think they need is a stronger production and for Paul Stead to put some real passion in his voice. Regardless, I still had a good time with the album, and would tag Sacred Heart as a band to keep an eye on.
www.sacredheartshakes.co.uk

TSM/SLW 2009
Review by Urban "Wally" Wallstrom,
23 January 2010

Quickly reading through the songwriting credits: Jack Bruce, GInger Baker, Jimi Hendrix. Holy Crap! To be perfectly honest. I'am not familiar with all of these songs, but it seems like six out of the thirtheen tracks on "There's Trouble Coming" are old covers of the sixties. Five song and dance numbers with The Cream and the rather dodgy rock of "Up From The Skies" with the first real guitar hero (Jimi). In between you have seven (nope, merely six, see below) original compositions that blends nicely in with the ancient sound of GHZ.

The members of the band (Dan Hovey - vocals/guitars, Scott Giambusso - vocals/bass, John Zider - drums) have been playing together on and off for the past 25 years or so. GHZ was however formed in Washington/USA in the summer of 2005 to celebrate their love for late 60's rock and everything that goes along with the words of groovy and far-out, dude. The opening track is a cover of "White Room" and it's a nice enough version to make me wanna track down the original. Next up the titletrack and it's an original work as well as a 50/50 mix of slow blues 'ala Cream and Jazz. Smoothly and nicely done. "SWLABR" is Cream again and "When Mars & Moon Collide" is an original, but it sure sounds like something from the late hippie 60's.

Damn, I believe that "Crystal Ship" is a cover of The Doors, so make that seven out of thirtheen tracks. And to be perfectly honest, again. The Doors are probably one of my all-time hate projects. Goddamn hippies. What a waste of space and time. Hey, I'm a child of the 80's! What do I know? Well, I do know that songs are supposed to have some kind of structure and perhaps even a hook? Then again, I find myself enjoying more and more of the old rock and don't tell anyone, but, "Riders of The Storm" is actually quite good.

Battlefield 2009
Review by Urban "Wally" Wallstrom,
25 January 2010

Where The Eagles Fly vs. Free Like An Eagle? Well, it's no big eagle conspiracy theory since they do have one thing in common and that's vocalist out of ordinary Thomas Vikstrom (ex-Talk Of The Town, Candlemass). However, the way Dark Illusion conspire to construct metal moods and then leave you wanting for more is almost criminal. Wait, scratch the latter, it's wanting for something else rather than more actually.

Don't get me wrong. I do enjoy a lot of the music on this CD. But this platter badly needs a half decent lyrist. You know, much like this very review could do with a proper reviewer. Nontheless, a song titled, "Epic", and lyrics that goes, and I quote: "I went down in the jungle hid my face from the sun. I came back from the underworld, got no place to run", and later on: "It's the way of the hunter taking its toll. Yes were caught up in danger leading us back to the hole", end quote. What the f**k is he talking about?

Frontiers 2010
Review by Kimmo Toivonen,
04 February 2010

"From The Vault" is a collection of songs recorded over the years by veteran AOR rocker Rick Springfield and producer/songwriter Jeff Silverman. Stylewise we're talking about "Hi-Tech AOR", somewhat similar to Springfield's work on "Rock Of Life" album. Big-sounding, a bit "robotic" drums and a kind of an "echoey" atmosphere yet given the human touch (ehh...) by Rick's fine, heartfelt vocals.

While some of these tracks are very good ("Right Planet, Wrong World", "Woman II" and a few others), there's a lot of stuff that doesn't do anything for me. The dance-oriented, percussion-heavy songs like "Why Don't You Dance" and "Monkey" are the least interesting ones, and what's with "My Depression" - sounds like a re-write of Billy Joel's "We didn't Start The Fire"!

Many of these songs have been already released on other Rick Springfield albums, and even though these versions may differ from those, they hardly make this is an essential purchase. The unreleased tracks might just do that for the die-hard Rick Springfield fans. Not a bad collection, but not something that I'll be coming back to...
At the same time as this album, Frontiers have re-issued Springfield's latest album "Venus In Overdrive". Urban's review of the original release is here - Click! Click!. The new version adds a bonus track, a truly horrible reggae version "Celebrate Youth" AND a bonus live DVD "Live In Rockford". It might be good, but it wasn't submitted to us...
www.rickspringfield.com
MySpace

TSM/SLW 2009
Review by Urban "Wally" Wallstrom,
25 January 2010

Arbogast? What the heck is Arbogast? And more importantly... what the heck is going on in the cover of "Certainties and Doubts"?? Ehem, in a matter of fact, I don't ever wish to find out. They certainly are an eccentric bunch of rock musicians though. The vocalist/guitarist and main songwriter Svante Widerstrom sings like that weird late 90's Eurovision bloke from Latvia (or whatever ) and the music is a melt-pot of 70's Rock and Pop influences.

Not enough grind to be metal, too quirky to be straight rock'n'roll, and simply not enough cheese to be pop. They are everything and nothing at the same time. Schizophrenia is a word that pops up (heh!) and it's all a bit too mellow-yellow, if you catch my drift. "Once The Tip Of The Spear" is a really dodgy title for a song. The sound is supposed to be some kind of Neal Young rock with merely a hint of metal. "Stay Up And Talk To Me All NIght" is a poor ballad attempt at re-creating some of the Rolling Stones magic of the past.

ProgRock Rec 2009
Review by Urban "Wally" Wallstrom,
25 January 2010

It's not a "Goth" thing, since I really do enjoy many acts of the genre. It's not a "female" thing, since I do not see any point whatsoever in filing vocals under "male" and "female". It's all about quality and what you prefer in a voice. I'am simply not a big fan of this particular voice in question. This shouldn't stop you from at least checking out a song or two with Factory Of Dreams (FOD). I'am however sure that I'm not alone in feeling like this when it comes to the voice of FOD. See below what I wrote about their debut CD:

"So what about the vocals? yeah, Jessica Lehto is the name and an Edenbridge/Nightwish wannabee is the game (only worse). Female, male, it really doesn't matter, you know. However, if you sound like you've been inhailing laughing gas prior to your singing (David Surkamp of Pavlov's Dog anyone?), well, then you're bound to end up in the 'love' or 'hate' section, there's nothing in between really".

Viva Hate Rec. 2010
Review by Urban "Wally" Wallstrom,
3 February 2010

Warning - This CD contains hippie music and utterly radical schtuff. Sure enough, things start off pretty promisingly enough as Circle and "Hollywood" get off the blocks and accelerate towards the FINNISH line with the groovy rock of "Connection". It's the sort of rocker that makes you want to tune in, turn off, turn up, ehh... turn insideout? Whatever those smelly hippies used to do back in the days. Just remember that Woodstock is the root of all evil and you'll be alright. I'm with Cartman @Southpark all the way on this subject .

"Mercy and Tuesday" and "Earthworm" is more of the same old hippie nonsense and "Sacrifice" is at least a huge step forward in comparison to the first three tracks. Finally some structure and hints of melody and good old 70's hardrock. It's actually a nice mixture of Uriah Heep and Sabbath and it comes complete with roaring keyboards by Mika Rattö. But not for long as they quickly return to their hippie nonsense again. "Madman" is a nice attempt at Lou Reed, Iggy Pop, but it's too little, too late. If Hawkwind, the English grandfathers of fuzzed-out, acid-hippie, space-rock, came from Finland and spent even more (more? that's just not humanly possible) time smoking pot than rockin', then this is what they'd sound like.

frontiers Records 2010
Review by Alan Holloway,
29th January 2010

If you’re not sure where you know the name Brian Howe from, you could be forgiven. He was quite busy in the Eighties, most notably with Bad Company over 4 studio albums, but since then he really hasn’t been up to much. Although his first album with the band “Fame & Fortune” was a bit too syrupy and rather poppy to boot, the three that followed were excellent, as good as any they made with Paul Rodgers whilst being different enough to catch the imagination of a melodic rock loving Eighties crowd. Throughout these albums, Howe’s voice stood out as one to admire, full of power and passion, capable of singing blues tinged pop rock with the best of them.

There’s been a single solo album since Bad Company, but Brian Howe is now firmly back with an album that I guarantee will be in my top ten at the end of the year. The style of “Circus Bar” is pretty close to that on his Bad Company albums - plenty of melody, catchy choruses and a solid bluesy undertone throughout. There’s thirteen tracks on offer, and included in this are a few ballads. Now, I’m known for being quite critical of ballads, as often they don’t fit in with an album or just aren’t up to scratch (see Wig Wam for a prime example). Well, with “Flying” and “Feelings”, Brian Howe has two excellent slow burning songs that do everything a good ballad should, and for once I have nothing to complain about.

Mainly, “Circus Bar” is made up of well paced rock tracks with stomping choruses that will have you singing along on the first play. “I’m Back”, There’s This Girl” and “Could Have Been You” are energy fuelled pace setters, whilst “If You Want Trouble” is a foot stomper that is better and more lively than anything Kiss managed on “Sonic Boom”. For Bad Company fans there’s a pretty straight version of “How Bout That” (from “Here Comes Trouble) and a total reworking of “Holy Water” that turns it into a very beautiful piano led ballad, of all things. As with his Bad Company albums, the real stand out throughout is Howe’s amazingly soulful voice. Up there with the Coverdales and Bowes of the rock world, Brian Howe is the quintessential rock vocalist, and with “Circus Bar” he has revisited all the promise he showed in Bad Company and made it all that much better.

The only problem I have with this album is that I can’t stop playing it. I’m supposed to be reviewing other stuff, but every time the computer comes on I just have to play it at least once, after which I find myself going back to a few tracks for no better reason than they cheer me up. Seriously, if you only buy one album this year then this is the one. Absolutely brilliant.
www.brianhowe.com

Frontiers 2010
Review by Alan Holloway,
29th January 2010

The question that begs to be asked straight away is this: is this a Giant album? Well, it says “Giant” on the sleeve, but to all intents and purposes this is more of a collaboration between several noted melodic rock artistes. For a start, Giant mainstay and vocalist Dann Huff is not fully involved, mainly as he’s very busy doing other things. That said, he is totally behind this album, co writing no less than seven songs on offer and even popping up on two to play guitar. Vocals are now handled by Terry Brock, who in my opinion is more than capable of the job, although some disagree. Original bassist and drummer David L Huff and Mike Brignardello are still in the band, which is completed by Winger guitarist John Roth. Various writers have also come on board, such as Eclipse/W.E.T man Erik Martensson, to make this a true collaboration of an album. So is it a Giant album? Not really, I suppose, but then again I don’t care that much as long as it sounds good, and it really sounds good…

“Promise Land” is right up there with some of the best melodic rock albums you own. It’s got the heart of Giant, the soul of Strangeways and the funky boots of Winger, wrapped up in a collection of songs that rarely, if ever, drop the ball. It may come as a surprise to some that there’s only two ballads on the album, of which one, “Our Love”, is a real belter. Unfortunately te other, “Dying To See You” seems flat and uninteresting, with Brock’s vocals nowhere as near as good as on the rest of the album. I remember seeing Strangeways support Europe in about 1847 (feels like it, anyway), and I was very impressed by Terry Brock back then. On “Promise Land” he sounds fantastic, reaching all the required notes with ease, bringing added life to what are already great tunes. There’s so much upbeat melodic rock goodness here it’s hard to pick favourites, but it’s almost impossible not to like tracks like “Believer”, “Never Surrender” and “Two Worlds Collide”, not to mention the Van Halen-esque “Complicated Man”. rather than think about who wrote what, or who’s playing on each track, the best thing is to sit back and just enjoy it.

“Promise Land” may very well split die hard Giant fans down the middle, but from my side of the fence it’s just a great melodic rock album. Approach it with an unbiased attitude and you will really enjoy it, although I am sure that certain fans will be determined not to like it, and that’s a shame because they’re really missing out. The rest of us? Well, we can just enjoy ourselves, and hopefully it will result in a tour very soon.
www.myspace.com/gianttheband

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

These Swedes sound like L.A. Guns on steroids bringing back sweet memories of the energetic performances of early Guns n' Roses. I guess the artwork is a pretty good way to strengthen that notion. However "Bad Habit Romance" is not your below-average, simple sleaze album that lives and breathes on the attitude only, there's serious musicianship here. Just play the opening "Bitter Cocktail": besides the typical sleazy sound-picture and the vocal performance there's a damn good, sophisticated guitar solo winning me for the cause right away.

That's the way to go for the rest of the album as well. Attitude and energy combined with stellar musicianship, tight performance, and very – very – good production. This is not a bland nostalgia album; it has tons of fresh energy and at times it beats its legendary predecessors. It is by miles the best effort on the entire Perris sampler.

Roadrunner Records 2010
Review by Alan Holloway,
29th January 2010

TAussie boogie masters Airbourne are back, and in typical fashion they are making a mockery of the time honoured phrase “Difficult second album” with “No Guts, No Glory”. Those expecting a sideways step into ten minute soul searching prog will be disappointed, but if that’s really what you wanted you wouldn’t be picking up an Airbourne album. This is unapologetic heavy rock with no greater pretensions than the grand daddys of the genre AC/DC had. Rockanfukkinroll indeed…

From start to finish, the album gleefully takes the baton from the now legendary debut “Runnin Wild” and carries it between it’s teeth. AC/DC comparisons are, yet again, inevitable, but as before Airbourne have made an album that is better than anything the old masters have done since “Back In Black”, and I definitely include “Black Ice” in that. Good as it was, give me Airbourne every time. The song titles say it all really. How can you not write a catchy tune with titles like “Blonde, Bad & Beautiful” or “Born To Kill”. They grab you by the balls and shake until you give in, each one a total foot stomper with a chorus that gets inside your head and won’t leave. This is heavy rock stripped to the bone, and when it’s done well it sounds simply awesome. Anyone who owns the debut will know that Airbourne do it very well indeed.

Quite simply, if you’ve not heard the band yet but are partial to a bit of vintage AC/DC, you must have this. If you have the first album and got a kick out of it you must have this. If you just want a kick ass rock album that does exactly what it says on the tin… well, you get the idea. They’ll never get points for originality or sensitive lyrics, but Airbourne will always score high on sheer energy and the ability to write some of the catchiest damn tunes this side of the Great Barrier Reef. And yeha, Bon would have loved ‘em.
www.airbournerock.com

Eonian Records 2009
Review by Urban "Wally" Wallstrom,
15 January 2010

God Bless Eonian Records for keeping the 80's/early 90's hardrock dream alive. I'am not entirely sure it's all good though, however, kudos for being so utterly out of fashion. Seriously, it's like you've stepped back in time and find yourself in a daze of hairspray and various ozone "friendly" substances. It's big hair and screaming guitars and you can't help to grin along to the music.

Most of Eonian acts are straight "sleaze" and melodic rock. Dr.Grind does not compute however as they are/were more "Metal" and in the vein of acts such as TNT, Vicious Rumors, Dokken, Mass, etc. There's a slightly more edgy feeling to their melodies and a lead vocalist that could really belt out those high notes. Yeah, they're from Seattle and played the local clubs during the years of 1992 to 1994. Take a wild guess why you never heard of in the first place? Did anyone say Nirvana? Smells like teen spirit?

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

When playing the opening and title track of this I thought to myself: Hell, I've heard this a million times still it never fails to amaze me. Take a look at the artwork and you'll see what I mean. If it does not bring back memories of the late 80s for you, no album art would do. Yes, Pretty Wild sounds like Motley Crue, like Guns n' Roses, like Poison - and you know what?! - like all those three in one.

It's all about going „All The Way" to Rock n' Roll city (the last time someone amazed me with that concept was Swedish Erotica and that was a long time ago), feeling the „Time" to rock and „Let the Good Times Roll", with „Dangerous" girls, etc. Familiar concepts?

TSM/SLW 2009
Review by Urban "Wally" Wallstrom,
20 January 2010

Some CD's make an instant impact. These New York City rockers will surely light your fire if you're into "simple" and timeless rock. They are clearly too fookin' brilliant to be unsigned and were at one point signed to Warner Bros/Lizard King, but decided to leave (?), since they were not willing to compromise with the band's sound and musical integrity.

What they have here is the sound of the late 60's/early 70's vs. the Brit Sound of the early/mid 90's. It's The Who on a date with Oasis. The (Small) Faces on a all-nite boozer with Mando Diao. You would never have guessed "New York" as vocalist/guitarist Ben Rice and the rest of the gang have clearly been brought up on fish and chips, black pudding, and deep fried mars-bars. British, indeed.

ProgRock Records 2009
Review by Urban "Wally" Wallstrom,
15 January 2010

Jupiter Society is the sci-fi project with Mats Levén (Swedish Erotica, Treat, Yngwie Malmsteen, Krux) on lead vocals and you've never heard him sing like this before. It's close to guttural at times and it's like he's been inspired (?) by a certain Pete Steele of Type O' Negative. He will just as quickly switch to powerful vocals in the style of "Prog Metal", but do not expect to find any comparison to his previous work.

This is otherwise the project of composer/keyboardist Carl Westholm, previously known from Carptree, Krux and Candlemass. 'Terraform' is a rather "dark" sci-fi story set to epic, symphonic, Prog-Metal, and Mats Levén is merely one of three lead vocalist hired to sing the songs (the other two are: Öivin Tronstad, Nils Eriksson).

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
31 January 2010

...and the award 'worst CD art cover of the century' goes to Orpheus. Christ oh mighty. This is what you get when you leave the artistic work in the hands of a schmuck. Ehem... I noticed it's the handy work by one of the band's guitarists. He should immeditely stop messing around on the "art scene" and concentrate on playing the six-string. How many potential CD buyers and business folks have been scared away by the hideous cover? Probably too many for a hard working independent act.

Seriously, I know that you're all thinking: 'really-dodgy-church-burning-Norwegian-Black-Metal of the early 90's'. Which is ok if you're actually playing really dodgy black metal. But what if you're a tanked up female fronted metal act with some hard hitting numbers and interesting ideas? Well... to quote Mr.Bush, then you're fucked!!! From the moment opening track, "Fuck Me Over" kikks into drive, the rough and sweet mix and match of absolutely glowing vocals by Ingrid Galadriel and big-riffing guitar rock grabs the unwary by the throat.

ProgRock Records 2009
Review by Urban "Wally" Wallstrom,
14 January 2010

Reading on the cover: Dead Heroes Club - I like it, I like it a lot. It's the kind of monicker to rave about to friends and foes at your local pub. They're probably all too drunk to pay attention anyhow. But, it's enough to set your imaginary mind in motion and it's certainly not too shabby at all when you realize the artcover is the work of official Tolkien illustrator Ted Nasmith.

Yep, that's exactly what we're all about here at RockUnited.com - monickers and artcovers. Ehh... not!!! Reading the "intelligent" and somewhat poetical lyrics by vocals Liam Campbell, you can't help to compare him with a certain Fish of Marillion. Take this opening piece from the epic track, 'Stranger In the Looking Glass', and I quote: "Sitting in a house of reverence many years ago. I asked the lord of my dominion. Was there a path that he could show? To take me from my sense of mediocrity - But only silence filled the air and so I drifted off to sleep" - end quote.

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

Dynazty would fit well into the line-up of Perris Records bands with their easy-going sleazy attitude yet their debut album has a definitely harder sound than most of the Perris bands and that's a good thing. It's well produced, there's a decent guitar work and a great guitar sound and even the backing vocals sound thick and well-produced. Not something that could be said about most Perris bands…

I guess the addition of Chris Laney at the helm (responsible for production) did a lot of good and Rob Love's (ex-Zan Clan) guitar work lifts the band above the average of bands signed to the label. It's hard to name any highlights of the album, the ballads are rather average, the rockers are all catchy but none of them really sticks out. Personally I really dig the guitar licks of "Top of the Line" and its cool shout-out chorus even if the lead vocal melodies don't do much to me, "Adrenaline" does just what its title suggests, while "Take Me Down" has a cool vibe, similar to the best Lynch Mob moments.

Hercul Music 2009
Review by Urban "Wally" Wallstrom,
12 January 2010

The name of the two lead guitarists? Rob Luv and Trixx!!!??? Yep, this surely must be another Sleaze act of the eighties. Hey, it's Eonian Records after all. I quite like the attitude and energy of Strike Twice. This is more of the same 'ol bubblegum Sleaze (borderline 'Glam') 'ala those crazy s.o.b.'s of Poison, Tuff, Faster Pussycat, Ratt.

The story of the U.S. band goes all the way back to 1985 when vocalist Michael Hayes and guitarist Rob Luv met through a guitar instructor named Steve Amend. The started searching for other possible band members in various New York clubs, including Sparks in Deer Park where they spotted bassist Chaz Domino behind the bar??? Let's make a long story sort of short as I have a feeling this could go on forever otherwise (and they found the drummer at the zoo, etc, etc).

Strike Twice were infamous for their stage show in the 80's. They packed out N.Y. clubs like Hot Rocks, Sundance, Club Loaded. They incorporated silhouetted dancing women and TV's playing porn into their live act (tacky?). Anything for the that Sleaze-fueled shock factor. The band was living the rock star lifestyle, but they were doing so without a recording contract. They kept fighting bad luck and dodgy managment(s) with no major deal around the corner. They did win the 1991 'Good Times' award for best band in the Tri-State area though.

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

A cool name for an all-girl band for sure. I had images of early Vixen in my mind when first playing them, then it all turned out to be flat-out wrong. Musically they nowhere near being as polished and sophisticated as those babes were, they play simple AC/DC influenced, rather aggressive rock topped with way-too-simple vocal melodies of punk garage band. Sounds nothing like Vixen, does it?

As I like my music polished and (like my steak) well-done, Cherry Lips failed to impress me. Trying not to be sexist I have to say that musically they know their limits and don't try to overplay or over-sing anything which brings a result that is flat-out too simple to entertain without memorable vocal melodies or guitar licks.

7Hard 2010
Review by Kimmo Toivonen,
27 January 2010

Italian hard rockers Edge Of Forever are back with their third album. I don't remember their first album "Feeding The Fire", but noticed that I have their second effort "Let The Demon Rock'n Roll" in my collection. I don't remember much about it either, but I guess it's a decent disc since it's still taking space in the shelf. "Another Paradise" is a decent one as well, but not necessarily good enough to become a "keeper".

Axe-vocalist Bob Harris used to sing in the band, but on the new album band leader, keyboardist Alessandro Del Vecchio has taken over the vocals. He has the kind of a voice I tend to associate with many South European bands - highpitched, over-emotional and vibrato-heavy. It's not really my cup of tea, but I know that a lot of people like this kind of singing. He's surely a capable vocalist with a good range, but to me it's sounds like he's trying a bit too hard.

"Another Paradise" takes off nicely, raises to a good altitude but after that it's a turbulent flight. "Distant Voices" is the opener with a hook that sneaks into your head. I'm not sure whether I really like it, but it's catchy... The title track is an OK song as well. The best tracks of the album are the next two; "Lonely" with its' superb keyboards and the straightforward, highly melodic "Edge Of Time", which is possibly the best track the band has ever laid on tape.

"I Won't Call You" is a nod towards more poppy AOR direction with a somewhat irritating pseudo-Journey chorus... there's just something in this song that doesn't work for me. The heavier "My Revenge" reminds me a bit of Yngwie Malmsteen, but unfortunately his weaker material. The ballad "What I've Never Seen" is quite forgettable, even though the keyboard work is quite atmospheric. "Eye Of The Storm" steals an idea or two from Europe's "Superstitious" yet it doesn't really have a memorable hook, and "Against The Wall" suffers of the same problem. The only highlight of the album's second half is a cover, a metallized cover of Irene Cara's "What A Feeling" from the eighties' blockbuster "Flashdance". The song has always been one of my favourite pop tracks, and Edge Of Forever's version isn't too bad. It's just weird to hear it sung by a male singer. Nightwish could probably do a killer version of the song.
www.edgeofforever.it
MySpace

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

Another Perris release... it's just a different band, different album. Same sound though. Seventh Rize came up with a very well-produced album with the help of Bobby Rock and some songwriting from Bruce Turgon. These names sound good in the bio but don't let them fool you, Seventh Rize is a million miles from the polished sound of Foreigner, they sound like they were straight out of a smoky biker pub somewhere around Oklahoma. Which they probably are as they are more of a live act than a studio wonder.

"Full Moon" is as simple as AC/DC, as swampy as anything Zakk Wylde has done lately, and has the necessary stick-it-in-your-face attitude you need if you want to survive playing small clubs as a way of living. The problem with these kind of bands is that no matter who produces them, it is impossible to capture their true nature on tape (not to mention digital production…). They always sound too simple, too rough, too – well – too boring on a full album, and that's exactly the case with Seventh Rize.

Eonian Records 2009
Review by Urban "Wally" Wallstrom,
14 January 2010

OK... I'll be the first to admit that I don't get it? Why would anyone pay + $250 (eBay) for a 5-track CD with Sgt.Roxx??? Are they perhaps The Beatles of 80's Sleaze? Ehhh... nope, it's just another "obscure" and rather average disc from the year of 1991. Well, no need to splash the cash any longer as you'll get the EP (the first five tracks on this very compilation CD) plus yet another 14 tracks of pure eighties sleaze.

The band, formed in 1985 by vocalist Jack Adams and bassist Darrin Laszlo, came from the city of Chicago and played music inspired by the likes of Lillian Axe, Ratt, and any old band with big hair, make-up, and a below average guitarist (Poison?). They've earned their place in the U.S. Midwestern Metal scene as a mainstay at every major club in the tri-state area during the late 80's/early 90's. Their version of Glam Rock drew fans from all over the place, packing all the clubs such as The Thirsty Whale, Stay Out West, and Club Dimensions.

Eonian Records 2009
Review by Urban "Wally" Wallstrom,
12 January 2010

Not to be confused with the Felony act at Escape Music or the answer to what your redneck family's been up to lately. This U.S. sleaze act date all the way back to 1989 and the 16 tracks on this CD were all recorded between the years of 1990 to 1993. Heavily inspired by Motley Crue would be an understatement if ever.

The track, 'Heist In Helltown' is basically a mish-mash of old Crue songs (Knock 'Em Dead Kid, Tonight [We Need A Lover], All In The Name Of...) and therefore a perfect display of the sound these guys provided in the past. If you ever come across a more Motley Crue inspired act than Felony, let me know. It's vocals in the vein of Vince Neil and stiff guitarwork 'ala the zombie previously known as Mick Mars. The song (Heist In Helltown) is pretty darn catchy though and the best of the bunch.

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

According to the label flyer they are re- releasing this due to strong fan-demand. Well, it's nice of them though I have no idea how strong that demand could have been. Originally released on the ill- fated Vinny Records back in 2002 the debut of these Spaniards did not raise a big tide yet it proved the band has some potential. It's nowhere near their efforts since then, they matured with age and their songwriting improved considerably since this effort.

So if you know the band as it is now, you can safely skip this one as it is awfully underproduced, has some really bad vocal parts sometimes, and though from a guitarist's point of view it is a stellar effort, the guitar tracks can't save the entire album. "Wings of Fire" reminds me of early Europe (with the same problems, you know Joey Tempest before taking singing lessons…), "The Crime of Loving You" recalls the worst REO Speedwagon approach, there's some Bon Jovi here and there, some bluesy ideas at other places, efforts of acoustic ballads but none of them really come together, the whole thing is pretty pre-mature songwriting-wise.

MeteorCity 2009
Review by Urban "Wally" Wallstrom,
19 January 2010

The debut CD offering from MeteorCity's worthy stoner record label. Freedom Hawk are flying high across the sky with their not too original version of early 70's hardrock. Led by the sabbathic kind of Ozzy Osbourne vocals by TR Morton and pumped full of grating and noisy guitar riffs by Matt Cave, The Hawks meld the old Black Sabbath sounds with the very early days ditto of Monster Magnet and Soundgarden (80's).

It's actually very basic and noisy stuff. Did anyone say Hawkwind? Yeah, I'm sure you can pick up a thing or two from the Lemmy version of the band. The distorted bass guitar is indeed an important ingredient of the sound picture and the rhythm section reminds you of a runaway train on a collision course with the milkman. They have a tendency to overdo things and it's all starting to repeat itself around track five, 'Bad Man'. It's like, hey, I've already heard this riff somewhere else on this platter (there's merely a total of seven tracks though).

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
31 January 2010

"Monsters in the closet - Demons in my drawers. Yeah, my house is haunted - come a little closer". Robin Brock is back with a new agenda and a new CD for that matter. It's a much angrier, heavier (musicwise - I'am not talkin' about her actual weight), version of the lady that brought us two albums on the rather short lived U.K. label A2 Records in the very late 90's/early 00' (see reviews in our massive archive).

The angry rock of the titletrack is a display of KISS 'ala 'Carnival Of Souls' and even some industrial/electronic rock. Quite a shock considering Brock's music in the past. It's a fun tune though. In fact, the first 6 tracks on this 10-track CD are all good. "New Addiction" is a smart combination of a sharp melodic sense with a no-prisoner attitude and a taste for food? Ehhh... the programmed drums sound a bit out of place. The semi-ballad, "Two Words", reminded me a lot of Evanescence and their 'The Open Door' release. The lyrics are aggressive, in-your-face, and include killer lines such as and I quote: " Two words - they end with you. They rhyme with truck. Turn them around because you suck", end quote.

"Master and Slave" kikks like a mule to the head. This is a hit if ever and I'm talkin' about something that would actually work on MTV today. "7 Pieces" is just great melodic rock with a catchy refrain. Very much in the vein of Heart or rather the answer to 'what Heart would sound like if they started out in the music business today'. The programmed drums are kind of dodgy again. "Solitary Girl" is a nice enough effort to create a completely different kind of mood and pace. A nice breather and ballad.

Pitch Black Records 2010
Review by The Bailey Brothers,
21 January 2010

It’s been a while since we played French band Trust to a bemused Retford Porterhouse audience. After a while the fans got into the band despite the lack of an English vocal. Rammstein have fans all over the world and they only occasionally use the English/American language, proof that rock and metal is global. We have always had an open mind so relish the chance to hear what the French melodic Metal scene had to offer. Silent Fall are basically the band Winterland with a couple of musicians added here and there. The line up on the new release is; lead vocals (Adrien Eyraud), guitars (Olivier Caron & Pierre Cabannes), bass (Sylvain Rousselle), keyboards (Guillaume Tertis) and drums (Fabio Carnielli). How to describe this new release by Pitch Black Records? Well it’s a bit like listening to the Eurovision Song Contest but without the Lordi entertainment. If it wasn’t for a few selected tracks it would probably get a nil point vote.

The musicianship is ok, good guitar playing, plenty of double kick drum energy and great keys from Guillaume Tertis. One of the problems with this album is the weak vocals by Adrien Eyraud they are not powerful enough for some of the songs but there are a few tunes worth a mention.

First of the better songs is "Who Is The Fall". There are two versions of the same song appearing at the beginning and end of the album, the final song on the disc has a more distorted Heavy Metal vocal on the verse. Vocal melody wise Adrien does ok, although it gets a bit disjointed there’s plenty to hum along to. Instrumentally it’s very diverse with many influences including a Latin style all working well within the structure of the song. If anything it just went on a bit too long but got the album off to positive start.

"I Wish" has some good moments especially guitar wise with twin harmony lead breaks and lots of shredding arpeggios and the keyboard playing is pretty tasty as well. "This Could Have Been" is quite an apt title as this could have been a really cool ballad. It’s got the right tempo and style to suit the vocalist Adrien Eyraud, the vocals are a little bit cluttered in the bridge section, once you fill all the space with too many words you lose room for dynamics, the diction suffers, it can create timing and tuning problems especially if the vocalist is inexperienced. The lyrics are best described as Mickey Mouse and don’t make any sense at times, the inclusion of a female vocalist did add some welcoming new texture to the song. Once again another obvious vocal edit stuck out like a squeezed zit; the studio edits (namely the vocal drop ins) are too apparent especially as it’s a simple song, surely you can get through a single verse without having to drop the main singer back in? There’s enough mixing tool plug ins available to have made the drop in un-noticeable even if the engineer missed it first time around. Melody wise, it’s got a catchy chorus but it’s a shame they didn’t layer it with some 3 part vocal harmonies, there is also some really nice keyboard playing and arrangements. It was crying out for a Michael Schenker “Love To Love “(UFO) style guitar solo, although what you hear is appropriate it lacked the feel and tone to make a statement with such a sound rhythm foundation. Overall this is one of the better tracks on the album and is a step in the right direction.

"Tears of Fear" again is only 10 or so words into the verse and we have another real obvious vocal edit which is quite un professional, you ask questions on the vocal studio performance or the engineers ability to drop a simple vocal in the mix, whoever is the culprit? It makes the album sound like a demo rather than a finished product. Musician ship by the keys and guitars etc are being let down in my opinion .Once again the chorus is melodic and you have got to love the double kick drum at the which is total over the top.

"On Top Of The World". This is the best track on the album, a very classy intro, reminded me only slightly of the brilliant theme music to the film Last Of The Mohicans staring Daniel Day Lewis. The star of this song is probably Guillaume Tertis on keys, there’s some nice string arrangements, a good keyboard solo where he takes it in turn to shred with the lead guitarist, the vocals are not bad either on this tune. Over all a very good song and it’s a shame the rest of the album wasn’t of this standard. The bottom line here is Silent Fall either need to write more songs like This Could Have Been which are more in Adrien Eyraud’s comfort zone or get a new vocalist who can match the power and energy of this band. Mediocre vocals make a band sound just that, if you try and listen to these songs instrumentally, there’s good changes of tempo, the keyboards work well with a good choice of sounds and are possibly the glue that hold these good rhythm arrangements together along with good guitar playing. There are plenty of catchy vocal melody lines it just needed a powerhouse vocal in the Bruce Dickinson vein. There’s are some good highlights and the band comes out of this release with plenty of promise.
MySpace

Perris Recods 2010
Review by Endre 'Bandi' Hübner
23 January 2010

Why doesn't my company have one?? I demand one. But something better than this one as this Sex Department fits really well in the team of underproduced, bland Perris glam/sleaze bands with not a hint of any fresh idea. The music is as clicheful as the artwork, ruined with high- pitched vocals, undermined with simple riffs, yet blessed with slightly better lyrics than typical for the genre.

It may just be the sampler disc I got but even velocity problems surfaced here, this album being a lot weaker than any other. Song titles will tell it all: "Heroin", "Wasted in Texas". And then all of the sudden there's a fantastic, moody guitar intro to the song "Back in Uniform" that blew me away. If they can do such things why don't they stick to that? It reminds me of the best moments of Tigertailz, nothing really original, just a catchy ballad with good guitar work. I issue a warning here: if you can't tolerate girly voiced singers, stay far away from this one yet the guitar work on this tune is absolutely catchy, both the intro and the fill-in solos.

Frontiers 2009
Review by Kimmo Toivonen,
20 January 2010

"The Right To Rock" was Keel's first major label album. It was produced by Gene Simmons of Kiss, and it did quite well, earning them nominations as the "Best New Band" in various metal magazines. It was also my first introduction to Keel, and while I liked the anthemic title track, I really didn't think much of the rest of it. Now, 25 years later, I still don't know what's the fuss about it. Sure, they've still got "The Right To Rock" and couple of other decent tracks, but the second half of the album is still rather boring, generic metal.

The bonus tracks on this Anniversary version are a re-mix of "Easier Said Than Done" and a newly-recorded "The Right To Rock". The re-mix sound cleaner and more powerful than the original, while the re-recording features a bit less over-the-top vocal from Ron Keel and better production. In fact, the original album sounds really muddy despite the remastering.

For me, the best years of Keel were after "The Right To Rock", but I won't deny the album's significance for the band. Without its' success we wouldn't have "The Final Frontier" or the self-titled album, which are in a class of their own.
www.keelband.com

7Hard 2009
Review by Urban "Wally" Wallstrom,
10 January 2010

You can tell that change has taken a hold of Brunorock by simply listening to the first couple of tracks off 'War Manicas'. Yeah, it's the latest offering from Italy's Bruno Krasler (ex-Dark Sky), but, it's really more of a band effort this time. All musicians are involved in songwriting and keyboardist Alessandro Del Vecchio (Edge Of Forever, Eden's Curse) co-wrote most of the songs together with Bruno.

ProgRock Records 2009
Review by Urban "Wally" Wallstrom,
19 January 2010

Argh! It's yet another vocalist that really gets on your nerves. He sounds like a r-e-a-l-l-y water-downed version of that bloke 'Nilsson' (Without You, Everybody's Talkin'). You know, a rather "fragile" voice, but unfortunately without the excellence of the old Nilsson geezer (is he still alive? no?). Anyhow, that's old folks kind of music... so. You'd just like to rush up and wake the Ajalon singer from his slumber. You're supposed to sing with yer gut, belly, tummy, whatever, not yer throat.

'This Good Place' is their third release and according to the info-sheet, 'the performances and the songwriting is much heavier than previous work'. Heavier??? Bloody'ell, they must have been performing some kind of 'air symphony' in the past? I certainly can't think of this as much heavier??? They've certainly been successful in the past. The first CD release in 1996 managed to secure rotational airplay (heh,heh, air) on over 50 radio networks in the U.K. Much due to the hard work and efforts of YES keyboard legend, Rick Wakeman. He discovered the band and thought they sounded groovy, hippie, or whatever.

TSM/SLW 2009
Review by Urban "Wally" Wallstrom,
10 January 2010

Last Stop China Town is a truly wicked monicker on a rather average metal band. They've been touring all over the U.K. as the support act to Bullet For My Valentine, Breed 77, and Skindred. Smashing gigs, I've been told, and especially the latter ska/metal act is a personal fave anyhow (rude boy for life - oi!). Sadly they haven't really managed to capture the live energy on CD though... then again... maybe they have?

The medium paced guitar riffing that sounds a bit too posh to the rest of the band, will quickly become your only and true friend when you're 'Into The Volcano'. The lead vocalist huffs and puffs to bring the house down, but the piercingly high vocals will merely cause you headache and pain. Seriously, turn down the volume on the shrieking and perhaps we can all understand what you're singing about.

MeteorCity 2009
Review by Urban "Wally" Wallstrom,
19 January 2010

Apparently Let The Night Roar are a leftover band from the darkest and most primitive part of the eighties. They are the bastards sons of Venom and Bathory, only with a more vivid approach. It's heads down and a few cagey chords away from boredom actually. Who ever said that old (black) metal just wither up and die?

Escape 2010
Review by Kimmo Toivonen,
18 January 2009

Last Autumn's Dream have churned out seven studio albums since their formation in 2002, yet they've managed to maintain a rather good level of quality. Some of the discs have been a little less memorable than others, but each one of them has had its' share of good songs. "A Touch Of Heaven" shows that despite the tragic loss of the band's bassist Marcel Jacob last year, the band's songwriting is as positive and upbeat as ever before. This is definitely one of my favourite LAD albums.

The first two tracks "Caught In Between" and "Top Of The World" are good examples of the energetic, catchy songwriting of vocalist Michael Erlandsson & Co. "Candle In The Dark" slows down the tempo a bit, as it's a semi-ballad kinda thing, a nice, likeable one at that. "Come Rain Or Shine" is a fine melodic rocker with cool, melodic guitar work, while "Heartbreaker" is a bouncy pop-rocker with pulsating keyboards. The pop-rock theme continues on "Last Mistake", which is a nice enough song with Jeff Scott Soto on backing vocals. The biggest departure from the band's tried and trusted sound is the 70'ies pop of "See My Baby Jive", complete with "doo-wop" background vocals! It's apparently a cover of a Wizzard song from 1973.

"Renegade" is just what this album needed, something a bit moodier after the three poppy songs. It's a fine ballad with dramatic, sparse arrangement. "What's On Your Mind" is one of the more hard rocking tracks of the album, and while it relies on a rather familiar chord progression, it's irresistably catchy and moves like a runaway train. "How Long" is another semi-ballad and another good track, followed by a decent cover of Cheap Trick's "Surrender". The album is closed with a strong ballad called "Jenny's Eyes", one of the "darker" songs on an otherwise upbeat album.

Although I'm not really fond of the production, this album is one of the first nice surpises of 2010. Frankly, I was expecting a few good tracks, a few fillers and a couple of those sappy standard ballads LAD has had on most of their albums, but got something quite a bit better instead: excellent hookladen tracks and strong ballads. It serves as a fine tribute to Marcel Jacob, with Nalle Påhlsson doing a good job filling his slot in the line-up, completed by Erlandsson, Andy Malecek (guitar) and Jamie Borger (drums).
http://www.myspace.com/lastautumnsdream

Black Cat Music 2009
Review by Kimmo Toivonen,
20 January 2010

Tara's Secret are a hard-working UK band playing melodic hard rock, influenced by the big names of the eighties. With their third album, they might just make the leap to the A-list of contemporary melodic rockers - this is a decent release with some excellent songs and good production.

The first half of the album contains most of the better songs, while on the second half the band lose some of their steam. Opener "Rock'n Roll Beauty Queen" doesn't blow the doors open, but it's a decent song with guitar sounds that remind me of Judas Priest's "Turbo" album. The hair metal swagger of "She's My Baby" is something I'd rather skip, but then we get to the real good stuff. "Natural High (Rain Of Love)" is a good melodic rocker with sharp riffs and fine backing vocals. Next up we've got "The Last 2 Know", a ballad and a duet between Johnny Trowbridge and Dante Fox's Sue Willetts. It's another winner and an album highlight. The same goes for "Promises", a cool stomping rocker with plenty of melody. The album's title track is another good song, if not quite as good as the previous three.

"One More Chance" is the album's second ballad, and it's more of an understated one with only piano and vocals. A nice change of pace. "My Reward" takes the album to a more metallic direction again, reminding me of the dozens of late eighties hair metal bands. An ok track, nothing else. For "Shake What Your Mamma Gave Ya!" the band has enlisted the help of Adrian Marx, a singer who does a lot of Bon Jovi tribute songs. The song itself isn't a full-on Bon Jovi clone job, but a party hard rock track along the lines of Danger Danger and the likes. Strangely enough, next track "Homeland" is more Bon Jovish one with the kind of a nostalgic storyline that JBJ favours.

The last two songs are marked as bonus tracks, apparently on available on the CD, not in the online music stores (not in Amazon anyway). "GTBR" is a rather dull "groovy" track that reminds me a little bit of Bang Tango's weaker moments, whilst "Wildest Dreams" is better, a straightforward rocker with an ok hook.

I checked out my previous Tara's Secret album review, and noticed that I compared the vocalist Johnny Trowbridge to Meat Loaf and Richie Sambora, but I can't hear that anymore. Most of the time, Johnny sounds like a deadringer of Ron Keel, without Keel's tendency to belt out highpitched screams. A special mention must go to the guitar work of Craig Chapman and Richie Beardsley.
www.taras-secret.com
MySpace

Escape Music 2010
Review by Alan Holloway,
21st January 2010

Well, this is certainly an album full of melodic hard rock. Yes, there’s melodic hard rock here, there and everywhere, and for the life of me I’m struggling to remember what most of them sound like despite listening to the album twenty times. It’s definitely melodic hard rock, though, of that much I’m certain.

Perhaps I’m being a bit harsh, as Human Temple’s second album has received plenty of positive reviews. Some have almost gushed, but although I’m not left cold I’m not as excited as others have been. There’s nothing at all wrong with the production or playing, as everything is pretty much as it should be. For me, the problem lies in the fact that for half of the album the songs just seem to lack that essential ingredient that makes you want to listen to them again and again. The pacing seems to be a little slow, the song writing a bit by the numbers. “Empty Stages” manages to keep your interest with it’s cool hooks that remind me little of Bon Jovi (but only a little), but it’s a small oasis in an average rock desert. When the seventh track “Ghost Of You” comes along it’s like the band have finally got it all together, injecting a little more pace and hard edged melody to create a fine track. Straight after they decide to turn everything up to eleven with “Emily”, which is easily the best track on the album. It’s hard edged, upbeat, melodic and full of restless energy. If only the whole album had followed this template I would have enjoyed it so much more.

“Murder Of Crows” is just not the album for me, although despite this it still remains a solid album musically. It just doesn’t float my boat and will be banished to the recycle bin on my computer because I know there will always be other albums I would rather hear. It’s mid paced melodic rock well played, but I would suggest you have a listen on MySpace before you buy.
www.myspace.com/humantemplefinland

Frontiers 2010
Review by The Bailey Brothers,
21 January 2010

If you were to ask what Guitarist Bruce Kulick brought to Kiss, a one word answer would be Stability! He was their lead guitarist from 1984-1996 during which time he appeared on nine gold, two platinum and one multi-platinum KISS albums. The reformation of the classic Kiss line up Of Paul Stanley, Ace Frehley, Gene Simmons and Peter Criss saw drummer Eric Singer and guitarist Bruce Kulick surplice to requirement. He’s now been touring with the band Grand Funk Railroad for 9 years so that tells you something about the man. He’s probably a better guitar player than he is a singer/songwriter but at least he knows his limits as he’s assembled some big guns to perform on BK3.

The album kicks off with quite a heavy track titled Fate which is a far cry from what Bruce came up with originally which was basically an album full of pop songs. The inclusion of Kiss god Gene Simmons on the album helped change the direction and this project is about 6 years in the making due to BK’s other commitments. Gene Simmons appears on the song “Ain’t Gonna Die” which he now owns. You have to admire Simmons, he lives life like it could all go tits up tomorrow and he would be back to selling classic comics as he did as a young man. This song isn’t going to be a number one around the globe with cheesy lyrics like “People tell me what’s right and wrong and I don’t give a damn if you like this song” Gene is however singing better than ever and the chorus is typical Gene Simmons with a big hook. He’s not the only family member to appear on the album; Nick Simmons takes lead vocals on the song Hand of the King. Cool to hear Nick the son of the God Of Thunder but once the novelty factor wore off you couldn’t help but compare the two. Nick needs to establish his own style rather than become an imitator of his father; if there wasn’t a connection then the song wouldn’t leap out at you and slap you in the face.

John Corabi (ex Motley Crue, Ratt etc) appears on “No Friend Of Mine” a moody but well polished song. Dropping out the distorted guitar leaves room for the vocals to shine in the verses and they certainly do, this is a great vocal performance, a well arranged song with a great chorus and one of the stand out tracks on BK3.

There’s only one word to describe the song “Dirty Girl”- POP! There you go; I said it without throwing up! Think Nelson or Hanson in their day and this would have been a hit for sure. Featuring Doug Fieger, (lead vocalist of The Knack) it’s got teeny boppers written all over it. Does it nestle in between the rock songs? Well it’s a catchy tune and a chance to show off your writing skills and the bubble gum did go pop with a cool guitar solo from Bruce in the middle so why not? It’s a solo album after all.

Are there any Kiss type anthems you may ask? No, the nearest you get is” Final Mile” which has a “God Gave Rock’N’Roll To You” esc chorus but it’s all pretty lame. “Between The Lines” is another talking point with Steve Lukather (Toto) and Bruce doing some nice guitar dulling over a pretty basic rhythm arrangement. The twin lead harmony guitar segments are melodic, none of it is up there with good old Satriani but it’s cool to see Bruce inviting so many guests on the album including old Kiss band mate Eric Singer on “I’m The Animal”.

So are we gonna sum this sucker up or go to the pub? Eee lad, you can’t beat a pint of Guinness, now where were we? Oh yes in BK3 land with Bruce Kulick on his 3rd solo album and a diverse and interesting release it is. There’s plenty of songs in the right ball park, one or two that went over the fence and a few that hit you in the balls especially “No Friend Of Mine”.

After a few spins you should enjoy this offering from Bruce and friends ,it’s not up there with the brilliant Paul Stanley solo release “Live To Win “but it’s still a collectors piece with Simmons and son on it so grab it while you can.
www.kulick.com

frontiers Records 2010
Review by Alan Holloway,
4th January 2010

By rights, Wig Wam should be world famous. These talented Norwegians haven’t exactly been churning out albums like some bands (this their 4th album in 8 years), but each one has been an absolute gem filled with melodic sleazy rock coupled with some truly scary fashion sense. Anticipation for “Non Stop Rock & Roll” has been high, and I hope that the high rating above will allay any fears you may have had. Wig Wam may have taken 3 years to get around to the album, but it certainly wasn’t three wasted years.

I’m guessing the Wig Wamaniacs out there will want to know just how rock and roll this album is, and the answer certainly isn’t “Non Stop”, sadly. Whilst there’s a plethora of fast, catchy, hook laden monsters like “Wild One”, Walls Come Down” and the simply amazing title track, there’s also a couple of ballads that creep in and do their best to kill the party. “Man In The Moon” is pretty yawnsome, and “From Here” follows it four tracks later and follows the same pattern. I suppose they’re both quite competent as wet ballads go, but I personally found them both eminently skippable. The good news is that every other track is pure Wig Wam, with choruses that will stick in your brain for days and months to come. The track most guilty of this is “Chasing Rainbows”, a schmaltzy piece that even has a children’s choir hurling the refrain at the listener until it sticks and won’t peel off.

Including the bonus track “Got To get It On” there’s ten rocking monsters here that fans will simply adore. And two ballads, but I'll leave that up to you. My personal favourite is the title track, which was good enough to convert two previous Wig Wam virgins on a car journey last month. It’s a real balls out rock track, pure melody, speed and guitar. The album as a whole has a great production and there’s no complaint as to the talents of the band. The perfect bridge between AOR and glam rock, Wig Wam aren’t stopping yet, so get on board their crazy train now.
www.wigwam.no/

Sphere 2009
Review by Dez Bailey, The Bailey Brothers,
3 January 2010

I read this book in two sittings - that’s how gripping it was. Ozzy may have played the clown for forty years but take away the circus tent and you will find a family man as genuine as they come. This isn’t a contrived book written by a ghost writer with Ozzy’s face on the cover just to sell books at Christmas; what you have here is Ozzy telling his life story with the help of Chris Ayres. The book is well presented, with important facts and dates smoothly blended as not to bore your ass off with stat’s. Every so often there’s some cool personal photo’s where Ozzy tells you his feelings towards the pictures in written text. You discover the sad facts that Ozzy left school unable to read and write probably due to having dyslexia, “I’d look at a page and it might as well been written in Chinese. I felt like I was no good like I was a born loser”.

Ozzy gives you an insight to life for a working class family from Aston claiming the best day job he ever had was working in a slaughter house. There’s the forming of Black Sabbath thanks to an advert he placed in a music shop “Ozzy Zig Needs Gig” and his father took out a £250 loan to buy him a PA even though he could hardly put food on the table .Ozzy was sacked from the band and carried the scars for years to come .From John Osbourne the burglar sent to Winson Green Prison to The Osbourne’s, an MTV worldwide phenomena this is a story of a rock legend who should have died from drug and booze abuse yet survived mainly thanks to the business guile and the love from his wife Sharon Osbourne (even though he tried to strangle her).

If you think you know Ozzy after all the MTV contrived reality show then read this book and you will find out that behind the headlines is a shy man just trying to make people laugh and make a name for himself. Ok there are a few bits we have heard before like the time his wife took all his clothes so he couldn’t go out so he put on her dress and still went out. There’s a few bits Jazzed up and a few one liners he’s pulled out of the hat on many occasions but this is the real deal. Because of the chaos that followed Ozzy around the world through his hazy crazy drug induced days, people sometimes forget what a major contribution Ozzy has been to the world of rock music. From Black Sabbath he went on to even greater heights as a solo performer. He helped launch the careers of amazing guitar talents such as Randy Rhoads, Jake E. Lee and Zakk Wylde and has released a string of brilliant albums plus after 30 years in the business he enjoyed a number one hit single with his daughter Kelly with the song “Changes”. I Am Ozzy is the brown sauce on the Bacon and eggs, the sugar in the coffee, the toast on the side. It will make you laugh and it may make you cry? One thing for sure, once you start to read it you won’t want to put it down. I Am Ozzy is the best book I’ve read in years (it’s the only book I’ve read in years) Long live Ozzy the peoples champion.
www.ozzy.com

frontiers Records 2010
Review by Alan Holloway,
4th January 2010

Now this seems to be a bit of a departure for everybody’s favourite fluffy rock label Frontiers. The Murder Of My Sweet (cute name) are a Swedish band who would be more at home touring with Nightwish than Danger Danger, blessed as they are with a gothic style, aspirations of orchestration and a cute (and talented) female singer. The cover looks like an out take from the Exorcist, and as a casual observer I have to say the name and cover give the impression of this being a lot more metal than it actually is. Thankfully…

“Divanity” is a vary capable album, especially for a debut. It is, unsurprisingly, quite dark in places, but there’s always a clear sense of melody in the playing and the very tuneful vocals of Angelica Rylin. For the most part the songs are under five minutes, except when they experiment very successfully with a longer song on closer “Death Of A Movie Star”. As usual with Frontiers releases there’s no complaints with production, and although there’s no orchestral backing as such the keyboards do a very good job of providing necessary gravitas. Fans of Within Temptation and Nightwish will certainly get a kick out of this album, and I for one would love to see them play these songs live, so here’s hoping this gets enough good press to tempt them out of Sweden.
www.myspace.com/themurderofmysweet

Frontiers 2009
Review by Kimmo Toivonen,
04 January 2009

Spin Gallery's first album was a nice slice of smooth AOR with three vocalists. Since then, the project has morphed into something else, with Kristoffer Lagerström being the "sole survivor" of the original trio. Swedish producer/songwriter Tommy Denander is still the mastermind of the project though, so there's a certain amount of continuity present.

Denander's production is naturally of high standard, and you can tell that a lot of time has been spent on arrangements, harmonies and smaller details. Despite that, this album didn't exactly blow me away after the first couple of "spins". I've kind of grown tired of the Toto/Chicago/Mr. Mister type of soft AOR lately, and this album seemed to fall into that category. This review was still in the todo-list, so I ended up playing this album quite a few times. And what do you know, some of the smooth and sneaky hooks started to do their work!

The strongest of these tracks are rather brilliant. The album's title track is one such number, as is "Just A Momentary Why", the duet between Lagerström and Robin Beck. The other duet - "You Do The Things You Do" with Dan Reed - is one of the album highlights as well, even though Mr. Reed sounds more like Mark Spiro than himself on it. The pop-rock semi-ballad "Indulge" sounds like a hit too.

A few of the songs are still just too soft and even quirky for my taste (the Sting-like "Blood In My Veins" and Jacksonesque "Without Love" for example), and towards the end the album runs out of steam. Kristoffer Lagerström's high-pitched vocals are an aquired taste, sometimes his Jon Anderson-like squeaks are more irritating than entertaining. A warning sticker for "moments of extreme wimphem" might be called for...
http://www.myspace.com/tommydenandermusic/

Frontiers 2010
Review by Kimmo Toivonen,
11 January 2010

I liked Keel back in the day. "Final Frontier" and the self-titled album actually, both solid albums. Their cover of "Because The Night" is still one of my favourite tracks of all time, and I'm quite fond of songs like "Somebody's Waiting", "Don't Say You Love Me" and "Tears Of Fire", to name a few. Now, 20 years after their heyday, Ron Keel has put his country career and other things on hold to continue with his old bandmates (and a new bassist). What's funny about all this (don't say Ronnie Lee Keel the country singer!) is that the new album sounds like it could just as well be a secret unreleased studio album from 1990! There are absolutely no "modern" elements on it, as if the last twenty years had been nothing but a bad dream. That's the good news.

The bad news... the band have written a handful of good songs, but when it comes to the choruses, they've pretty much ran out of ideas. Take a song like "Hit The Ground Running" for instance: decent verses, great build-up in the pre-chorus, then a really predictable, dull gang-vocal chorus. The same happens in most of the other tracks... the verses are better than the choruses! The two tracks that which are more balanced are the title track, which is a likeable chunk of good-time hard rock, and the ballad "Does Anybody Believe". "Lookin' For A Good Time", "No More Lonely Nights" and a couple of others are almost as good, but then again, there are a few really average tracks too, like "Come Hell Or High Water" and "Gimme That". Overall though, there's more good than bad here, and despite the lack of killer choruses, I think "Streets Of Rock'n Roll" is one of the better comebacks albums of recent years. It could've been so much more though.
www.keelband.com

BLP Music 2009
Review by Kimmo Toivonen,
11 January 2010

A couple of years ago, Linehouse's demo found its' way to me. It was a decent selection of traditional AOR. It comes as no surprise that their first album "Take One" offers more of the same, early 80'ies sounding AOR along the lines of Asia, 38 Special and Foreigner. you won't find any breathtaking, hard-hitting hooks on this album, but plenty of nice and pleasant songs with moderately catchy melodies.

Apparently Niklas Dernebo (vocals) and Jonas Öhlund (just about everything else) have put the album together in a home studio, with Baltimoore main man Björn Lodin putting the finishing touches (mixing & mastering) in his BLP Studio. The sound is decent enough, although the programmed drums don't do any favours to the vibe of the album. With more powerful live drums, a song like "Two Hearts" might not have sounded as polite and nice as it does now.

There are no fillers on the album, and songs like "Every Little Heartbeat" and the Harlan Cage'ish "First Love" are very enjoyable, but... I was after some "bite" on the demo, and I'm afraid that the situation is still the same: Linehouse's AOR is nice and easy on the ear, but ultimately it's just a little bit TOO pleasant and nice to end up in heavy rotation in this household. Next time around, to quote a Foreigner song: "I want drums like thunder, gimme guitars that scream!".
www.linehouse.se
MySpace