Frontiers 2010
Review by Martien Koolen,
7 june 2010

It took Vandenplas a long time to record and release a new album as we know that Christ O is already 4 years old... But these German prog metal rockers did it again! However do NOT expect great musical surprises, so you will know what you will get when you buy this album. So, great melodic prog metal with powerful guitar riffs, hooks and solos from Stephan Lill and atmospheric vocals from Andy Kuntz.

So, musically speaking nothing new under the sun, but there are some extremely great songs on this album. Like for example Scar Of An Angel with its amazing refrains. Andy'voice sounds better than ever on this cd and if you still have doubts about his voice, listen to Holes In The Sky or The Final Murder. But the best song, maybe one of the best VandenPlas songs ever, is the long epic On My Way To Jerusalem, which start as a piano ballad before it evolves into an amazing prog metal track with lots of diversity.

Escape Music 2010
Review by Martien Koolen,
7 june 2010

The new studio album by Swedish metal prog rockers Silent Call is a true musical gem.From the first song Every Day till the last one Clavain's Tale it is really great material. It is an album filled with great melodies, multi-faced tunes, harmonies, big anthems, hooks, great vocal parts and nice key and guitar solos. The songs are all without too many excesses and remind me of bands like Mind Key, Masterplan and Silent Force.

The best tracks are without any doubt Falling From Grace (superb vocals) and When The Angels Call Your Name, which is a very dramatic song again with stunning vocals. Every Day is a heavier song and grabs you by the balls right away, while the two ballads Through The Endless Night and Clavain's Tale are also very catchy and good songs.

frontiers Records 2009
Review by Alan Holloway,
15th June 2010

So, this might not be what some people are after, but it seems Tony Harnell (Of T.N.T fame) has decided to go all acoustic on us, dragging some of his favourite songs out of the closet for an airing and a reworking. Your enjoyment of the album will really depend on your tolerance for stripped down songs without electrical interference, but I’m sure that fans of Harnell will eat it up.

The songs here are mainly made up from T.N.T and Westworld, although some others may have crept in. The problem here is that I don’t own everything Harnell has ever recorded, and there is no mention of which band did the originals . What I can tell you is that the tracks are almost uniformly excellent, which is never a bad thing. T.N.T fans should be happy with beautiful new versions of “10,000 Lovers”, “Intuition” and a great mandolin (I think) based reworking of “Satellite”. There’s a top notch version of Westworld’s “Shame”, during which Harnell is helped out by none other than Sandi Saraya, and even Westworld’s Alanis Morrissette cover “Uninvited” is brought out to play, ending up sounding like an acoustic Led Zeppelin track. There’s even a brand new track in the shape of “Anywhere But Here”, a gentle track that reminds me a lot of The Beatles.

When done by accomplished musicians, this sort of album is hard to bugger up, and that’s certainly the case with “Round Trip”. The songs are different enough from the originals to warrant a purchase without any worries at all, and Harnell is on fine voice throughout. As good a chill out album as any you’re likely to find, this one should be a keeper.
www.tonyharnell.com

Metal Heaven 2010
Review by Alan Holloway,
9th June 2010

Okay, this is going to be a short one, as “Best Of” albums don’t really engage a reviewers brain half as much as a new release. Swedish sweetypies Bad Habit have been around (on and off) since 1986, although I personally only got to hear them at Firefest last year, where they impressed me with some smooth melodic AOR.

“Timeless” consists of fourteen tracks from the bands past, going all the way back to their first ever release “Need Somebody”. Interestingly, this song still holds its melodic head high and proud today, and it’s no surprise that the band are held in high regard. There’s also a couple of exclusive new tracks, no doubt to try and tempt the fan who already has the other songs into flashing the cash once more. There’s “Turning Water Into Wine”, which is a beefy slice of hard rock, and the utterly stereotypical “Rock This Town”, which is sometime painfully clichéd but good fun nonetheless.

If you’re a Bad Habit fan, then this album is preaching to the converted, but for those of you who are like me and therefore new to the band, this really is an excellent purchase that will give you the chance to get into one of the better melodic rock acts out there. It’s fluffy as they come, but Bad Habit certainly know how to belt out a good tune and I’m sure this will be on heavy iPod rotation for some time to come.
www.badhabitvip.com

frontiers Records 2009
Review by Alan Holloway,
15th June 2010

Well, the timing here is certainly spot on, although the cynics out there should know that this project was in the can before the end of 2009, and the fact it is being released shortly after Ronnie died is a coincidence. Anyone thinking otherwise go and stand at the back of the class.

So… this is a tribute to Ronnie James Dio by none other than Jorn Lande, better known as the Teflon coated tonsils of Germanic powerhouse Masterplan. Jorn treats the legacy of Dio with the utmost respect throughout this album, helped by the fact that his voice is absolutely perfect for covering Dio songs. Before we get to the covers, though, there’s the matter of the opening track, “A Song For Ronnis James”. As fitting a tribute as you’ll ever get, this is eight minutes plus of one of the best songs Dio never did. Jorn and co have got the rhythm and style spot on, with lyrics that throw in as many Dio references (like rainbows, children and myriad of song titles) as is possible. Treading a fine line between genius and tacky, it’s a fine effort that says all you ever wanted to about RJD.

The other twelve tracks are, as you would expect, faithful covers of classic Dio tracks. It’s not all predictable stuff, and the inclusion of such tracks as “Push”, “Lord Of The Last Day” and “Lonely Is The Word…” take it away from straight “Greatest Hits” territory. The thing is, these really are faithful to the originals, and part of me doesn’t see much point in the whole thing. On one hand, you’ve got well played, brilliantly sung songs, and on the other you’ve got the choice of listening to the originals, which will always be the better option.

In the end, the value of this album will depend on your opinion of covers, and maybe Jorn himself. As an album by a great singer it’s certainly worth having, bolstered by the fact he’s singing great songs. As a Dio fan you may wish to only touch on “A Song For Ronnie James” and leave the rest. Well, it’s up to you, obviously, but I can at least say that I did enjoy listening to Jorns Dio tribute. A worthy album, certainly, and in the end still just a tribute, but one of the better ones without a doubt.
www.jornlande.com

Metal Heaven 2010
Review by Alan Holloway,
9th June 2010

There seems to be rather a plethora of quality European hard rock acts around at the moment, and this month sees the return of German/Dutch quintet Wicked Sensation, reformed last year by founder Micheal Klein. He’s brought original vocalist Robert Soeterboek back into the fold, along with Punk Cream 69’s Dennis Ward, who plays bass and has no doubt had a hand in the production (although it doesn’t say either way on my info). Six years after their last album, it seems that the time is right for a band with a powerful melodic backbone, but it remains to be seen if they can again stand out from the pack.

Unsurprisingly, Wicked Sensation trot out the type of melodic hard rock favoured by the likes of Dokken and Whitesnake, albeit with a European tinge. There’s plenty of melody about, and this results in some great songs, such as “Lonely Is The Night” and “Fistful Of Dreams”. There’s also the very catchy “My Turn To Fly” which features some guest vocals by Andi Deris, and these songs lead the way when it comes to melodic rock with a gritty edge. Guitars are very much favoured over keyboards throughout, and Dirk Bruinenberg’s drums are also pushed nicely up in the mix, giving “Crystallized” a hard, solid foundation. Okay, so there’s the obligatory ballad in “The Love I Used To Know”, but it’s not too bad. Vocalist Soeterboek has a whiff of Coverdale about him, and sings very well without an obvious accent although he rarely seems to be required to stretch his vocal chords. I like his voice, which suits the material, but he doesn’t stand out any more than he has to.

As a piece of melodic hard rock, “Crystallized” ticks all the right boxes. There’s good songs, good production and no weak links musically. It fitfully crosses the line the divides a good album from a great one, and will garner a lot of affection from fans of the genre. Certainly worth some of your time if you like your melody backed up with bone crunching guitars, but beware of the fact that it brings nothing new to the table, even though it’s still a hearty meal in itself.
www.myspace.com/wickedsensationmusic

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
26 May 2010

The Dreaming Tree, a Wolverhampton, U.K. based Progressive Rock/Pop band and quite vivid by nature. "Progress Has No Patience" is their second full lenght album and it's been nicely produced by Karl Bloom (Threshold and Dragonforce). In fact, the sound is huge and there's absolutely no need to worry about any sub-standard production. Their influences ranging from Spock's Beard, Led Zeppelin, to Bob Dylan and Leonard Cohen. Not sure why I should include it here though since they hardly sound anything like their influences...

Yeah, okay, you may keep some of Spock's Beard, add quite a lot of Steely Dan, IQ, Roxy Music (Bryan Ferry), Pink Floyd, and you're sort of halfway to the core of their sound. I like it, I do, although it has to be said that The Dreaming Tree do tend to drift somewhat aimlessly at times and it's difficult to keep up with their quirkiness. For instance, "Tide and The Mast", make no sense whatsoever, it's thankfully just a short interlude. However, I should also point out that "Progress Has No Patience" is a rather laidback, jazzy, Progressive Rock/Pop album with plenty of smooth and sophisticated song and dance numbers. To be honest, tracks such as "Moult" and "Ophidia", are more like a 50/50 mix of Roxy Music/Bryan Ferry and Steely Dan. Hell, I swear I can even hear some Spandau Ballet and Sade into tracks such as "Whisper Song" and "The Only Truth".

Avenue of Allies 2010
Review by Endre 'Bandi' Hübner
2 June 2010

A three-piece French band re-releasing their album recorded in 1995??!! Why do we bother then? Well, cuz it's pretty darn good. Sedona plays AOR in the vein of Toto or Fingerprints and they do it just as you expect it from seasoned veterans like they are: flawlessly. The band is about to come up with a new record this year so the label decided to re-release their previous effort even if it features a different singer from the one used for the new one. It doesn't really bother me because if there is a weak link in the old line-up, it's Patrik Liotard's vocals. Patrik handled the guitars and the vocals, the previous with more success. His vocals are crystal clear, he isn't off-key or anything like that but his accent is dreadful (I can barely understand the lyrics) and his voice lacks character. Other than that there's nothing to complain about, the songs are good, memorable, full of melodies and hooks, the production is absolutely good for a minor label, and the musicians perform with obvious ease and professionalism.

The bio does not mention a keyboard player yet there are really good keyboard tracks, I suppose either programmed or played by Patrik, too. The guitar and keyboard sounds are really good, the mix is well- balanced, the bass and the drums (cymbals and everything) are audible, the vocals are at their place. As I have said before the only complain is the accent but the two instrumental tracks solve that problem. :) They have been the highlights for me; they sound something like a mixture of Spyro Gyra and Andy Timmons, if you know what I mean. If you don't, take a listen. The lyrics focus on California and on the general happy-go-lucky lifestyle which is a nice change from the usual European lyrical clichés yet it made my mind wander off into weird directions [see below – Let me warn you that the following part shall not necessarily be regarded as our "official" review of the Sedona album and those not familiar with the NFL might simply skip the following paragraph.]

BombWork 2010
Review by Urban "Wally" Wallstrom,
20 May 2010

Hey, it's the old 'Accept' guitar logo of the past on the cover... ehh... and guns too??? Do not expect Accept music though as this is a v-e-r-y uplifting old skool Thrash/Speed Metal CD of the late eighties. Disaffection is a young-ish band from Brazil and "Begin The Revolution" is their debut full-length album.

Kicking off with, "Metal Kombat", the five-piece contrive to produce a 36 minutes long momentum of well-paced Metal sounds, from the frenetic "Which One's The Truth" to the mega crush of "I Wanna See The Kaos", highlighting the utter 'mosh pit' mode of their smashing debut album. It's a fun mix of classic Bay Area and Euro or rather 'German' Thrash in the tradition of Kreator, Slayer, Exodus, Megadeth, etc. The riffs are constantly flying across the room as I listen to their headbanging CD and you can't help to grin along to their melodies. It's "brutal" yet amazingly "catchy" and the two lead guitarists (Paul Moraes, Daniel Neves) are coming up with some truly inspiring work here. Not to mention that vocalist Cleiton Magno sound exactly like the typical Thrash/Speed frontman of the past. Sure, there's a tiny accent to his vocals, but it doesn't really have any negative effect on their music. The only negative thing I could find would be the drum sound as it's not quite as 'fat' as I'd like it to be. Not too shabby though.

Retroactive 2010
Review by Urban "Wally" Wallstrom,
20 May 2010

I really don't know all that much about the early stages of The Daniel Band. My previously encounter with the band only stretch as far as their mid/late 80's albums (Rise Up, Running Out Of Time). Those two albums are great fun melodic hardrock with quite a lot of hooks and sing-a-long melodies. "On Rock" is their debut album from the year of 1982 and originally released by Streetlight Records in their native homeland of Canada.

The fine people at Retroactive Records are now re-releasing this Remastered Collector's Edition of the old platter... plus two bonus tracks. The liner-notes speak of 'a Christian answer to Rush'. Well not exactly, since they're frankly no as "progressive" in their work and especially the bass-lines are not as complex and more in the tradition of straight rock. I'd personally say the easiest way out to try and describe their sound "On Rock" would be an combination of April Wine, Jerusalem, and Triumph.

Loud & Proud/Roadrunner 2010
Review by Kimmo Toivonen,
27 May 2010

Here's a tricky one... the reviews and comments about this album have been very positive, people praising this as one of the best "comeback" albums of the 80'ies hard rock bands. Since many of those reviewers I've usually agreed with, I was expecting this to be a much better album than it actually is. It's better than their previous comeback effort, the forgettable self-titled album (1999), but that's not really saying too much.

The album kicks off in fine style with the three strong songs in a row. "Eat Me Up Alive" is just what I was hoping the whole album to be like, with the band sounding as hungry as ever and totally fired up. This song alone proves that this ol' rat ain't dead yet... it's uptempo, aggressive and catchy. The first single "Best Of Me" is a more laid-back, an upbeat radio-friendly song that borrows a little from a certain Van Halen hit. It also reminds me of Dokken's "Burning Like A Flame". A throwback to the eighties, but nothing wrong with that. The production is quite contemporary, so this doesn't really sound too "retro". "A Little Too Much" is the last of the three, a song that's unmistakebly Ratt with some echoes from the past in the lyrics and a decent chorus.

After the three first songs I was ready to place this album among my favourite three Ratt platters, but the remaining tracks changed my mind. It's not that the band changed their style or started playing badly, it's just that the rest of the songs aren't very good. Stephen Pearcy sings like he's always done, Warren DeMartini and Carlos Cavazo have come up with cool riffs and Bobby Blotzer and Robbie Crane keep it steady and groovin', but the actual compositions seem to lack inspiration. The first thought after the choruses that comes to mind is "so where's the hook? Was THAT the chorus?". Some of the songs do have their moments ("Lost Weekend", "As Good As It Gets" and "Garden Of Eden"), but the rest of them are just way too forgettable. Take the chorus of "Don't Let Go" for instance: otherwise a rather lively uptempo song, yet the refrain has no conviction whatsover. "Don't...Let Go...Of Me...Yeah." That "Yeah" could've been "Blah" just as well, Pearcy & co sound so bored singing the chorus.

A strange album, this one. While the better songs showcase a re-energized, vital band, the weaker songs showcase an altogether different band going through the motions. I just hope that this album is successful enough that we'll get another album from them. It'd better be written and performed by the group of vital, hungry rodents that's responsible for the first few songs of this album. The other rats may abandon the ship.
Website
MySpace

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

There's an instantly 'creepy' feeling about the compositions and vocals of Lynch. Don't get me wrong... I kind of like it... kinda... but at the same time it makes ya' feel like you're listening to some weird ass music you really shouldn't enjoy. You know what... I get a similar feeling while listening to some of those 'not quite right' Glam/Sleaze/Whatever albums of the major record labels in the late eighties. You know which ones I'm talking about: DEAR MR. PRESIDENT (Atlantic), The BIG F (Elektra), etc. 'Slightly' mental and off beat to say the least. These guys are not quite as eclectic and 'out there', but hey, it's just a matter of time.

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

Stairway to Heaven? Highway to Hell? Road To Nowhere? Believe it or not, "Interregnum" is the 5th studio album by U.K. metal rockers Stairway. The first album dates back to 1993 (No Rest No Mercy) and the history of the band goes as far as the early eighties. So how come we haven't heard a single note from the band in the past? Well, I guess they've always been kind of underground and never quite in the spotlight of attention. Most if not all of their albums are sort of independent releases and this power-trio consisting of Graeme Leslie (vocals/bass), Pete Jennens (guitar), Andy Edwards (drums) work in the christian field of metal. At least I believe they do? Songtitles and lyrics such as "The Suffering Servent", "In The Shadow Of The Cross", "I'm Calling", Born To Die", "New Life", "Enter The Light", etc. speak of some religious kind of belief and fate/faith.

Meteorcity 2010
Review by Endre 'Bandi' Hübner
2 June 2010

No Fashion – No Image – No Hype. That's how the press kit starts. Well, hype you won't hear from me, that's for sure… Valkyrie is a four-piece band featuring the Adams brothers (both) on guitars and vocals [Pete, with some minor fame, formerly of Baroness] along with a rhythm section. Musically the bio claimed they were inspired by classic Judas Priest and Iron Maiden. Well, I do not know what they meant by "classic" cuz I haven't really heard any of those bands (in their prime) in Valkyrie. Much rather some doom-ish 70s metal like some early Sabbath and the dual guitar harmonizing reminded me of Thin Lizzy every now and then. Not much to get exited about.

What got me really puzzled was the sound and the production (or the lack of it). I had to check the sleeve of the CD to see this was recorded in 2007 and mixed in 2008. I do not know if that was intentional but the whole thing sounds as bad as if it had been recorded in 1974 or so. And I might add that bands like Deep Purple or Lynyrd Skynyrd sounded much better even back then. Okay, I know they were working for MCA… Anyway, there's no excuse for such a crappy sound in this millennium; the whole thing sounds worse than a garage band recording their stuff by a portable tape recorder placed in the middle of the rehearsal room. I know cuz I've been there… about 25 years ago.

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

Snew? First impressions of their "We Do What We Want" CD is one of shock and horror. Oh my, run for the hills, it's the return of the Jackyl and the utterly horrible sound of the 'Lumberjack'. Clearly one of the worst moments in the history of hardrock and heavy metal took place in the early nineties when Jackyl decided to introduce their third rate version of AC/DC schlock. Yet it's these sort of conditions that U.S. bands like Snew find themselves up against in the year of 2010. Dude, are they for real or will they start up the chainsaw any minute now? Well, they certainly look (image-wise) like they've just walked out of a Spinal Tap movie, and their sound is equal to a 50/50 mix of Rhino Bucket and Jackyl.

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

Anders Chriss is indeed a musician from my native country of Schweden. I can't say that I've heard of him nor his music in the past (since that would be a lie). He's been working and living in China for the past seven years or so, his musical journey has taken him to festivals, rock clubs, dance clubs and outdoor stages all over mainland China and to Taiwan, performing in various international constellations - ranging from Jazz musicians to DJ's. He's been a member of the band Roadkills and the band has opened for Beijing popstar Pu Shu and done largescale events often shown on Chinese TV (I believe they have merely one of them though? - nah!!!).

Gain/Sony Music 2010
Review by Kimmo Toivonen,
20 May 2010

This is the third album and the third lead vocalist for Crashdïet. The original singer Dave Lepard committed suicide, and his Finnish replacement Olliver Twisted has returned to his first Love, that of Reckless kind. Enter Simon Cruz, a mohawked young rocker, and whaddaya get? The most cohesive CD-CD so far.

I liked the previous two Crashdïet albums, but both of them had some rather average tracks among the gems. I'm not saying that "Generation Wild" has no weaker tracks, but somehow it's easier to listen to as an album than its' predecessors. The production by RamPac is excellent, and the new boy Cruz proves to be a fine vocalist with just the right amount of sleaze, grit and soul in his voice.

"Generation Wild" is full of catchy, melodic glam metal tracks, with big hooks and big background vocals. The band wears their influences on their sleeves, with bits'n pieces borrowed from the likes of Ratt, Skid Row and Kiss. The album's first single, the title track recycles the riff of Ratt's "Round And Round" and "Native Nature" owes a lot to Skid Row's "Monkey Business". If you're an "old-timer" like me, you can probably spot a lot of other similarities to the valued treasures of your cd collection, but let's not start nitpicking. It's a fact that bands like Crashdïet are doing just what the eighties' bands were doing to their influences - presenting them to a new audience in a slightly modernized package. Don't know about you, but I enjoy their take on the Glam Metal thing, even though I'm familiar with the ancestors as well.

The album's finest moments... there's quite a few actually. The aforementioned title track might contain recycled elements but it still works well, and opening track "Armageddon" has slowly won me over with its' massive harmonies. "So Alive" is a melodic monster, as is "Save Her". "Beautiful Pain" is the closest thing to a ballad this band has recorded so far, and it's an impressive track too. The weakest track of the album has to be the throwaway rocker "Rebel". I'd imagine that the band can churn out straightforward songs like these in their sleep. Possibly they did. "Down With The Dust" is another straightforward track, but at least it has a memorable hook.

So far 2010 has been a great year when it comes to Swedish hard rock releases. Treat, Crazy Lixx and now this album... something's going on in there!
Website
MySpace

Eonian Records 2010
Review by Urban "Wally" Wallstrom,
16 May 2010

Nancy? Fanny? Tricky Vicky??? Charlotte is a five-piece Los Angeles based band of the eighties and sadly not a rock n' roll woman. They're named after a certain legend and person who left her mark on history through less than reputable means, namely: Charlotte The Harlot. The band started out in L.A. back in 1987 and consisted of Eric Ganz (vocals), Nick DiBacco & Vinnie Cacciotti (guitars), Chris Colovas (bass), and Eric D. Brewton (drums) They unveiled their sleazy/bluesy style at Jezebel's in Orange County, California and quickly garnered barrels of buzz for their sound. Their popularity rose rapidly and they played at renowned venues like The Whisky-A-Go-Go, The Roxy, and The Troubadous, etc. Opeing up for the likes of XYZ, EZO, VXN... ehh... Vixen, Paul Stanley, among others, during the years of 1987 to 1992.

However, they never quite managed to break outside of L.A. and thus why there's no happy ending to Charlotte. Well, not up until just recently of course, when Eonian Records decided to put together a mighty fine compilation of their rather excellent material. "Medusa Groove" is a twelve track CD and all of the tracks were recorded between the years of 1988 to 1992. According to the press release, the band refused to follow the latest whatever trend and others like a blind little lamb. Thus why they decided to come up with their own thing and let a less-polished sound of Led Zeppelin and the 70's infiltrate their songs and style???

Frontiers Records 2010
Review by Alan Holloway,
18th May 2010

Whilst I’m not a Crue maniac, I’ve always liked the vocals of Vince Neil, as he always seems to mix pure sleaze with a playful edge that is endearing. Certainly Motley Crue suffered without him, and he’s lasted the course by being one of those frontmen who is worth his weight in lipstick and hairspray. “Tattoos & Tequila” is essentially a covers album, but don’t let that put you off, as Neil has well and truly left his mark on several classic rock songs here.

What you get is ten covers plus two new tracks. There’s the title song, a rollicking hell raiser from Marti Frederiksen, plus a neat ballad “Another Bad Day”, written by Nikki Sixx for the “New Tatoo” album but dropped. Neil always liked the song, and deservedly so, and I can’t help think that it was rather cruelly cut back in 2000. The rest of the album is a very cool mix of covers, some of which you would expect, like Cheap Trick’s “She’s A Whore” or Sweet’s “AC/DC”, both of which are played with just enough to allow Neil to absolutely own them on this CD. There’s also a swaggeringly good version of “Viva Las Vegas”, ditto for Elton John’s “The Bitch Is Back”. Not all of the covers are well known songs, with “No Feelings” (Sex Pistols), “Nobody’s Fault” (Aerosmith) and “Who Will Stop The Rain” (Creeedence Clearwater Revival) all getting an airing. The Creedence cover is treated with much respect and not fucked about with, whilst the Aerosmith song is perfectly suited and doesn’t need any work at all to work for Neil. It’s nice to hear “No Feelings” with a decent singer, although it now sounds much less anarchic!

Covers albums are an odd beast that some people have a love/hate relationship with. Although this is not a Motley Crue record, if you didn’t know any of the songs previously you would say it was one of their best, as everything here fits in with the Crue sound of the good old days. As it’s such a marvellously eclectic mix of bands and tracks there’s a lot to enjoy here, so don’t be put off by the fact it’s not stuffed with original material, just sit back and enjoy twelve great songs.
www.www.vinceneil.net

SPV 2010
Review by Alan Holloway,
10th May 2010

It’s time for album number 13 from Suvvern songsters Molly Hatchet, with all going pretty much as you’d expect, from the elaborate fantasy art cover to the slide guitar and hard as nails Jacksonville attitude. With three songs clocking in at over 8 minutes and an hour plus of music overall, this isn’t some pretty little country rock romp - Molly Hatchet want to entertain you, buy they always want to do it in style.

The first thing that should be mentioned is the very moving “Fly On The Wings Of Angels”, dedicated to Somer Thompson, a 7 year old Florida girl who was murdered late last year (as I write this a dirtwad has been arrested in connection with the crime). It’s a beautiful song, even if Phil McCormack does not have a voice suited to ballads. This is rammed home with the following track, another ballad called “As Heaven Is Forever”, which is actually painful to listen to at times, with McCormack sounding like a bad karaoke singer, rescued only by the belting solo in the middle. It may just be me, but I really don’t think he is a good singer, although there are several really good songs on here regardless. “Vengeance”, for example, is a beefy, marauding tale of revenge and bloodlust, actually suiting McCormack’s dirty vocals nicely, with some very neat guitar fills throughout. Closing track “Justice” also impresses, it’s eight and a half minute running time leaving plenty of space for possibly the best solo spot on the album, one that should have air guitar freaks twisting and gurning like there’s no tomorrow.

Even allowing for the fact I am not a fan of the vocals, there is a lot to like about “Justice”. The songs are very well structured, with the longer ones holding the attention throughout. There’s some absolutely superb guitar playing throughout as well, which is never a bad thing. I think it’s safe to say that if you are a fan of the band this will go down a storm with you, and that’s the whole point of it, really.
www.mollyhatchet.com

Silent Majority Group 2010
Review by Alan Holloway,
25th February 2010

You may have heard of Framing Hanley, most likely due to their ridiculously popular cover of Lil Wayne’s “Lollipop”, although possibly from their debut album “The Moment”, released back in 2007. It didn’t set the World alight, but such a triviality hasn’t stopped the Nashville 5 piece from having another bash at stardom.

Named after one of their influences, “A Promise To Burn” is a very competent modern rock album, straddling the gap between stadium rockers such as Nickelback and teen favourites Paramore. As they haven’t got a cute female singer, Framing Hanley tend more towards the mainstream grungy rock side of things, but with enough teenage type angst to help them win over a younger audience. There’s a few energetic songs like “The Promise”, (which sees vocalist Kenneth Nixon going a bit Fall Out Boy to good effect), though nothing that approaches real running speed. Most of the songs are mid paced, and there’s plenty of good hooks evident throughout. Despite this, it’s an album that’s full of good tracks rather than great ones, albeit one that should continue to please for some time. The likes of “Wake Up” and “War Zone” have nice, memorable hooks and some good guitar crunching that should prove popular live and in yer local young persons nightclub, counterbalanced by the slow burn of single “You Stupid Girl”, a song that deserves to bring the band more recognition than a throwaway pop cover.

Framing Hanley may have a way to go before they make an indispensable album like some of their peers, but they have a bright spark within them that could well signify a successful future. Regardless, “A Promise To Keep” is a satisfying mix of pop, grunge and modern punky attitude that is worth a listen.
www.myspace.com/framinghanley

Eonian Records 2010
Review by Urban "Wally" Wallstrom,
14 May 2010

Angelica + Shout + Stryper = Legacy? Oh yes... it's mathematical metal at its finest terminology and structure. Pretty basic stuff actually if you're familiar with the above mentioned acts. It's "christian" metal of the eighties, and back then, considered as controversial, labeled as blasphemous by conservative believers (mostly in the states though) who lambasted bands for wedding what they deemed 'the devil's music' to the holy gospel. The story of Legacy began on September 17, 1987, in Reynoldsburg, Ohio. Some local youth minister felt called to build and manage a band that could not only rock but share the gospel of love.

Doug Meacham (vocals), Matt Rice (guitar), Fred Blanchard (guitar), John D Rice (bass) and 'Jungle' John Jenkins, answered the call and the rest is as you may suspect history. There's 14 tracks on offer on their self-titled debut CD and they're all recorded between the years of 1988 to 1990. You have a couple of "hit" singles such as: "Forever In Your Arms" and "Live It", both rather typical of its time and v-e-r-y much in the tradition of Stryper. Seriously, I dare you to come up with any other band than Stryper while listening to the rather catchy and uplifting rock of "Forever In Your Arms". No can do - simply impossible. Opener, "Salvation Is Law", a nice mix of the first Guardian, Angelica, and the first Stryper album. The next track, "It's Real", and its christian undertow merely serves to light a fire under the band. Actually, Legacy made no bones about being a "christian" metal band. However, a more suitable description should/would read a metal band consisting of five christian musicians, yeah?

Spinefarm 2010
Review by Alan Holloway,
10th May 2010

As there’s no improved alternative to CDs as yet, record companies are quite happy to keep churning out “special” editions of albums we already have, hoping you will be so gob smacked by the bonus track or fancy packaging that you will get the thing again and head to Ebay with the old copy. It’s Dragonforce’s turn now, with “Valley Of The Damned” and “Sonic Firestorm” reappearing, each with the obligatory bonus track and a DVD.

The real test of these things is whether you should buy these if you already have them. Well, both albums come with a decent bonus track, for a start, both originally only on the Japanese editions. So far, so good, and then you can throw in the DVD’s, which are an oddity in themselves. There’s obviously a plethora of live footage from the band’s Japanese excursions, but for some reason we only get one live track on each disc. Surely a few more would have been allowable? There’s also several band commentaries on the live track, which are for the most part pretty entertaining. There’s also documentary and backstage footage, different for each disc, that should be of interest to fans, but nothing that really screams “Must see”. Overall, the DVD with each album is interesting as a curio but neither elevates the reissue to essential purchase status.

To sum up, if you haven’t got these albums then this is the edition you should obviously go for, especially as Play.com have them for £8.95 - practically giving them away. At this price they are certainly attractive even if you do own the albums, but once the price drifts higher they look less alluring. Superb albums, certainly, so make your own damned mind up.
www.dragonforce.com

EMI Denmark 2010
Review by Kimmo Toivonen,
09 May 2010

25 years... Oh how the time flies. When the first Fate album was released, a few people were probably expecting it to be somewhat similar to Merciful Fate, the previous band of guitarist Hank Sherman. They were in for a shock, as this Fate had no mercy - gone were the high-pitched shierks of King Diamond and the devilish lyrics, in came Jeff "Lox" Limbo's smooth tones, poodle haircuts and a bouncy Pop Metal style. Shocker.

The first self-titled album didn't shake the world, but it wasn't a complete failure either. It's represented by three songs on this compilation, all suffering of a echo-heavy, hollow production. The debut's best song "Love On The Rox" is also featured, but thankfully it's the remake from the "Cruisin' For A Bruisin'" album.

"A Matter Of Attitude", the band's second album, is considered a scandi-AOR classic by some, and who am I to disagree? The five songs from it are top-notch stuff, plenty of keyboards, harmonies and catchy melodies.

Hank Sherman left the band before the recordings of "Cruisin' For A Bruisin'", replaced by The Mysterioys Mr. Moth on guitars and a full-time keyboard player Floyd Lafayette. The album marked a slight change in direction, with a bit more of a "party metal" vibe on some of the songs. The selected tracks from it feature my all-time favourite Fate song "Lovers" along with the aforementioned "Love On The Rox" remake and "Babe You're Got A Friend", all AOR gems. "Knock On Wood" is one of the more throwaway "party rockers", and why it made it to this compilation I don't understand.

Fast-forward to 1990, and some serious changes are taking place. The rhythm section of Peter Steincke (bass, formely known as Pete Steiner) and Bjarne T. Holm (drums, Bob Lance) are the only members remaining of the original band, with Per Henriksen (vocals) and Mattias "IA" Eklundh (guitars) completing the band. "Scratch'n Sniff" is the name of the fourth album, and while it's not a big commercial success, it's a musical triumph. The production and the songs are great, and the new guitarist whizz-kid Eklundh is impressive as hell. Since leaving Fate, he's been active with his band Freak Kitchen. Four songs from "Scratch'N Sniff" are featured here, including "One By One" and "You're The Best (Money Can Buy)". The latter especially is superb example of Eklundh's amazing guitar playing.

The forgettable comeback album "V" gets one song to this compilation, arguably the album's strongest track "Everything About You". The singer hasn't changed, only his last name and his sound... the two new tracks introduce the band's latest singer, Dagfinn Joensen, a high-voiced vocalist with similarities to both of his predecessors. Musically the new songs are more in line with the old sound of the band which is good, but as songs they could've been stronger. Let's hope that the band was only warming up their songwriting skills with these, and put together a sensational new album later on. I do believe the might have that in them.
Website
MySpace

SPV 2010
Review by Urban "Wally" Wallstrom,
6 May 2010

Long-time readers @ RockUnited.com may recall (or not) that yours truly did a write-up and sort of praised the independent solo-album by John 'Harv' Harbinson in the mid 00's (see the archive). Approximately half of the material ended up on the 2007 debut album by the band Stormzone (Caught In The Act). Harv, the former vocalist of Den Of Thieves, Emerald, No Sweat, Sweet Savage, obviously also the frontman of Stormzone, decided to put together a completely new line-up of the band, essentially to tour in promotion of the debut with all the musicians being local and from Belfast. He even managed to find the former sticks-man for Sweet Savage, Davy Bates (at his motel?).

"Death Dealer" is their sophomore release and they have now switched from Escape to the record label of SPV. Apperently the "legendary" NWOBHM producer/DJ (yeah, right, DJ's are legends... sarcastic mode off), Neal Kay, saw in the band the same early signs of stardom shown by another group he discovered, Iron Maiden. Unfortunately (?), the biz has changed remarkably since 1979 and record companys tend not to spend any big bucks on NWOBHM these days. Nevertheless, the band hardened up their sound due to constantly playing live and these recordings came out more aggressive than their debut without losing out too much on quality and melody. It's more Maiden and less Whitesnake if you like to keep things simple and easy to read on your pc screen.

Frontiers 2010
Review by Alan Holloway,
5th May 2010

This is all a little bit embarrassing, if I’m honest. I must be the only classic rock music reviewer who doesn’t own a single record, CD, tape or wax cylinder by Canadian superstars Triumph. It’s made worse by the fact that the only song I have ever heard by them, “Follow Your Heart”, is one of my favourite tracks of all time. So why didn’t I track down more? Probably nothing more than laziness, so I’m grateful to Frontiers for the chance to see what all the fuss is about.

First up, I should point out that there’s nothing new here if you’re already a Triumph collector. No new or unreleased tracks, no live tracks, just 14 songs that very effectively give an A to Z of Triumph. What surprised me most was how diverse the band are, veering from straightforward hard rock like “Allied Forces” through the rock & roll of “Living For The Weekend” and out the other side into some very proggy moments like “Hold On”. There’s plenty of elements of Rush in places, abut also, to my surprise, a real feeling of The Who in the song structures. For someone just hearing this for the first time it’s quite a revelation. The beauty is that the songs never feel forced, with the variety keeping it all interesting from start to finish.

If there are any other Triumph virgins out there who like good classic melodic rock with more than a hint of creative genius, then this is a perfect place to start your collection. Existing fans may be tempted by the new production on old songs, but either way this is a kick ass collection of music.
www.triumphmusic.com

Avenue Of Allies 2010
Review by Alan Holloway,
29th April 2010

I’m not even gonna try and pretend that I understand the thinking behind the name of this little project from Italian guitarist Andrea Lanza. “Skill In Veins”???? Oh well, whatever gets him off, I suppose. He’s made a very good decision, however, by roping in Markonee vocalist Gabriele Gozzi for what turns out to be a sleazy rock filled gem of an album. Those who have heard the Markonee album may be surprised by Gozzi’s vocals here. Gone is his smooth, Michael Sweet type melodic crooning, making way for a voice that is a tough mix of the likes of Axl Rose and Seb Bach, although hopefully without the massive egos that go with them. When you listen to the music it’s plain to see why he has gone down this route, as Skill In Veins is a raw, rough and ready trek back to the late Eighties, taking cues from bands like Badlands and Guns n Roses. The whole thing is very upbeat, eschewing ballads for tight, guitar fuelled sleazy goodness, although thankfully they resist the temptation to misspell song titlez like many bandz do. Okay, so there is one ballad (“I’m Living My Life”), but it’s a power ballad, not a wet one, so it’s okay. Skill In Veins is an album that gets better and better the more you listen to it. The refrains and riffs that catch your ear the first time round become ingrained in your head the next. Special mention must go to mastermind Lanza, who not only has written some superb songs but also demonstrates quite a skill on he guitar, with crunchy riffs and skilled solos all over the place. There’s no glam here, but there’s plenty of sleaze, with the album falling on the heavier side of the tracks. Plenty to like, and overall a very pleasant surprise indeed.
www.skillinveins.comk

ProgRock 2010
Review by Urban "Wally" Wallstrom,
25 April 2010

Jolly??? It's "Forty Six Minutes, Twelve Seconds Of Music" and it's jolly good, old chap! (well, let's face it, you had it coming). They're an alternative rock band from New York City, "46:12" is their debut album, and it's an aggressive, very melodic, and eclectic blend of musical soundscapes both catchy and hard-hitting actually. Their music CD spectacular takes the form of a succession of a wide range of influences which include the likes of Muse, Depeche Mode, Tool, Radiohead, Mike Patton and Type O' Negative.

Also embeded throughout the CD are various forms of brain wave stimulation known as Binaural Tones. These tones are scientifically proven to enrich feelings of happiness, focus, creativity, and relaxation through inaudiable changes in audio frequences. I don't know about all this, but it's ceratainly a jolly good piece of craftmanship. Subtle is a word that applies to Jolly, and all of the elements that are integral parts of the U.S. "alternative" scene are in place (if you can name Muse, Tool, One Republic as alternative?). However, the matching outfits, the grand piano, haunting keyboards, and the complex-looking vocalist (Anadale), the latter always with a serious grin on his face, are all part of the bigger picture.

Frontiers 2010
Review by Kimmo Toivonen,
06 May 2010

A new Pretty Maids album is always something to look forward to. In my books they haven't really released that many "all-killer-no-filler" albums ("Jump The Gun" being the closest probably), but apart from the average "Planet Panic", each one of their albums has contained at least one truly massive song. "Pandemonium" follows the formula - it's not all killer, but thankfully there are not too many fillers either.

Pretty Maids has always been a band torn between the heavy and the melodic sides of theirs. At their heaviest, they are pure metal with breakneck speed and aggressive vocals, yet the next song can be smooth AOR with very clean vocals from the seemingly "two-faced" Ronnie Atkins. Me being the wuss that I am, I prefer the melodic side, yet at their best they are unbeatable at the metal game too.

On "Pandemonium", the best three tracks represent both sides of the band. The first single/video "Little Drops Of Heaven" is a superb balladic track with a great hook, while my other two picks would be "INVU" and "One World One Truth". They are heavier, but still melodic and catchy. As for the rest, the quality is actually quite good all the way, with songs ranging from speed metal'ish belters like the title track and "Cielo Drive" to more AOR-like songs such as "Breathless" and "Final Day Of Innocence". The only track that really doesn't cut it is "It Comes At Night", and unfortunately it's included twice on the album. Without the two versions of it and possible a bit different track order, this would have been a shorter, but also a stronger album.
Website
MySpace

Frontiers 2010
Review by Alan Holloway,
5th May 2010

The first thing you notice about “Facemelter” is the cover. Well, you would, but what’s striking is that it’s a proper Y&T cover. Let’s be honest, from “Down For The Count” onwards Y&T have had really shitty covers, with the last good one being “In Rock We Trust”. Happily, the artist of said cover (as well as “Black Tiger” and “Mean Streak”), John Taylor Dismukes, has returned to make Y&T look like a rock band again. Cool, but what about the music…

Well, after thirteen years away, it’s certainly nice to see Y&T back doing what they do best. “Facemelter” sees them doing a bit of a Scorpions and going back to their roots, as it were. This is Y&T as you used to love them back in the early Eighties. Some people have criticised Dave Meniketti’s vocals, but I honestly can’t see any problems here. His distinctive throaty voice is brutally apparent, and as usual he sings like only he can, no better or worse than ever, which is a Good Thing. There are some really great songs on display, with some truly cheesy lyrics thrown in for shit and giggles. “Gonna Go Blind”, for example, is about wanking, and offers more double entendres than a Carry On film. Seriously.

There’s an overwhelming familiarity about “Facemelter” that is very comfortable, like your favourite armchair. “Blind Patriot” hammers along with the vigour of “Open Fire” , “I’m Coming Home” is a fantastically melodic track that brings to mind “Forever” (from Black Tiger), whilst the rather tongue in cheek “Hot Shot” riffs off AC/DC’s “Dirty Deeds” and Foreigner’s “Hot Blooded” in equal measure. Still a fun song though. “Blind Patriot” hammers along with the vigour of “Open Fire”.

What Y&T have done with this album is remind everyone who was ever a fan that there’s plenty of life left in them yet. They’ve always been a live band of deserved repute, and it’s gonna be great to see them play some new songs again after so long. A fine return to form that should delight old fans and convert new, “Facemelter” deserves to be heard, if only for the wanking song…
www.meniketti.com

ProgRock 2010
Review by Urban "Wally" Wallstrom,
26 April 2010

'A musical vision literally thirthy years in the making'. Wow!!! That's hard work, sheer dedication, and more importantly pure love of music if anything. This is indeed the first official release by the geezers of Supernal Endgame from North Texas, USA, and what a nice surprise it turned out to be. It's timeless symphonic prog meets song-oriented rock, with an added dash of ambient gravity and celtic whimsy? Yeah, well, musically they can definitely expect to be earmarked as prog rock, artsy pop, pomp, with strong melodies and the occasional hint of classic and melodic rock. It's the old sound of Marillion, Genesis, Kansas, A.D. Jimmy Hotz, with tons of hooky melodies and powerful, uplifting lyrics in the spiritual heritage of the genre.

"Touch The Sky - Volume 1" is the first of a two-volume tribute of sorts to the act of worshipping the divine, hence the title 'Touch The Sky'. There's a sense of order and control throughout the entire CD and their compositions. Yeah, well, part of the reason for the Supernal Endgame's control is that firstly they know exactly how they want to sound after thirthy years in the making, I guess, secondly, simply read the first point all over again. Plus, there's merely three of them John Eargle (vocals, guitars, keyboards), Rob Price (vocals, drums), Dan Pomeroy (guitars), and they all seem to be aware of their strenghts and weakness. Guest musicians include the old prog swede: Roine Stolt, and a bunch of violinists. Yeah, they're using real violins on this platter and not just some dodgy side effect on the keyboard(s).

Escape 2010
Review by Urban "Wally" Wallstrom,
2 May 2010

Where do I begin??? Do you recall when TNT recorded their "My Religion" album? There's a similar 'file me under' sign hanging above the brand new frame of the U.S. Boston band, Mass. Slightly out of focus, of course, not entirelly 'spot on', but yeah, the two of them share a common love for modern/retro melodies and expanding the vasty boundaries of rock. They certainly may compare notes regarding their overall approach to guitar riffing and vocal harmonies. MASS' Louis D'Augusto and TNT's Tony Harnell work at competitive photo shop's even if the latter have a tendency to over-develop and expose his vocals. So could this be a Kodak moment? Should I drop the 'photo' theme of the review? Well, yeah, kinda, and yes, please!!!

The fact that Mass share a common sound to above mentioned act becomes immediately understandable as opening track, "Falling From Grace", bears more than a little resemblance to those Norwegian bastardos of melodic hardrock schlock. Strong, commanding vocals, and a couple of r-e-a-l-l-y high notes by D'Augosto, plus some truly inspiring guitar work by Gene D'Itria. Perhaps it's the other way around regarding their comparison to TNT anyhow? "The Right Side" takes us back to the groovy seventies and the sound of Led Zeppelin. "All The Years Gone" is a quite splendid melodic metal tune and the same goes with the following, "Thru The Rain". The semi-ballad, "Coming Home", yet another great tune and a nice mixture of acoustic and electric guitars.

Stormvox/Ear Music 2010
Review by Urban "Wally" Wallstrom,
29 April 2010

"Freedom Rock", the sophomore release by H.E.A.T., if possible, an even more eighties' sounding affair. It's mega glossy and slick AOR with smooth keyboards, not too loud guitars, super-commercial hooks, and not to forget, outstanding background vocals and harmonies. On the other hand, the lack of heart and soul is unfortunately apparent at times. "Freedom Rock" is a very 'sterile' sounding platter and clearly, a 13-track CD is bound to contain a few fillers. I simply can't stand the likes of: "Beg Beg Beg" (the most annoying rock refrain since Def Leppard's 'Let's Get Rocked'), "Danger Road", "Nobody Loves You Like I Do" and "High On Love". The sort of average opener, "We're Gonna Make It", feature a rather cheesy idea and structure 'ala the Eurovision spectacle and/or Brother Firetribe. The chorus part is half decent, but it's all a tad too predictible. "Black Night", a duet between Kenny and Tobias Sammet (Avantasia, Edguy) is a more 'basic' sounding rocker and not too shabby at all really.

However, the real strenght and core of the album is the U.S. schlock and their utterly commercial retro tracks. "Shelter" is a simply marvelous power-ballad which you could image being done by the likes of Mark Free and Signal in the late 80's. Top notch stuff! There's even a hint of Europe fanfare-styled keyboards to be found during the bridge. "Stay 2010" is a great re-recording of the Japan bonustrack from the debut album? "Everybody Wants To Be Someone" is easily as good as the best from Loverboy and Starship, etc. in the late eighties. Excellent! "I Know What It Takes" is catchy poppy AOR, while "Cast Away" is a fantastic mix of Giant and Unruly Child (the Swedish way of doing these sort of AOR tunes of course). And "Who Will Stop The Rain" is another fun and catchy tune in the tradition of scandi-rock and Bad Habit. Okay, I've been trying to delay this as long as possible. I really enjoyed their self-titled debut, gave it plenty of praise and even did an interview wi th the band. I'am sligthly disappointed with "Freedom Rock", since it's a pretty sterile performance at times and not enough of warmth and... ehh... heat (seriously, no pun intended this time).

Sloppy seconds or a new era of AOR??? Well... I tell you what, any know-it-all fan of the genre will easily spot these melodies from a distance of '1000 miles' and the glorious eighties. But, you'll also have to reconsider that any trend/style as well as music works in circles. Simply wait for a long enough period of time and you're no longer out-of-fashion, you're the best dressed man/woman on the planet. Ehh, and there's no such thing as 'new music' for that matter. It's all been done before, t-shirts been flogged, albums been sold, groupies been... ehhh, music works in circles, end of debate... And believe it or not, H.E.A.T. is a young act with quite a lot of young fans in Sweden. '1000 Miles' was the 5th most played/aired song on Swedish Radio in the year of 2009. The average kid doesn't care about the average old geezer' band from back when? Why should they? I sure as hell didn't bother with old farts such as: Journey, Foreigner, Queen, Boston, Styx, Asia, Toto, Led Zeppelin, Rush, Deep Purple, Triumph, Survivor, etc, etc.

Avenue Of Allies 2010
Review by Alan Holloway,
6th May 2010

The modern world of melodic rock is a different beast to that of twenty years ago. These days it’s all the rage to be in as many bands as you possibly can, which has given rise to the often impressive all star project type albums. Shining Line is one such project, masterminded by Italian stallions Pierpaolo Monti and Amos Monti, a drummer and bassist who definitely do not do drum ‘n’ bass, thankfully.

The attraction in this album is definitely the dazzling array of vocalists who have come in to lend their pipes to the project. It’s a bit of a who’s who of melodic rock with Eric Martensson, Robbie LaBlanc, Robin Beck, Phil Vinvent, Michael Voss, Sue Willetts, Michael Bormann and Michael Shotton amongst the talent on offer. Of course, all this would be of little note if the songs are no good, but thankfully there’s not a duffer in sight. Mind you, this is pretty safe AOR we’re dealing with, and although none of the songs disappoint, it’s rare that one of them really makes you feel you’re listening to a future classic.

Shining Line offers 14 tracks that have been cookie cut from the European melodic rock scene, with some very impressive vocal and instrumental work throughout. With that said, it lacks a sense of danger or excitement prevalent in the likes of Avantasia, content to deliver an experience that’s more akin to roller skating that rollercoasters. Good, certainly, but a few steps away from great.
www.myspace.com/shiningline

Mystic 2010
Review by Urban "Wally" Wallstrom,
27 April 2010

Thy Disease have come on immeasurable since their early days with boring old school (Norwegian) death/black metal. Vocalist Micha 'Psycho' Senajko has evolved into an demonic figure of both stature and weight. Very impressive... respect his authority to scare the s**t out of little children and grand mothers. 'Psycho' sure fits the part as psychotic/mad frontman with a mission, and the whole Marilyn Manson vs. modern demon image make sense somehow. "Anshur Za" on the other hand is a very modern electronic, industrial, melodic death metal album, yeah? Atmospheric and horror-like keyboards in the background, chugging guitars upfront, and weird staccato drumming all over the place.

Avenue Of Allies 2010
Review by Alan Holloway,
29th April 2010

British/Canadian bloke Erol Sora seems to have a thing for the Seventies. With this, his second album, influences such as UFO, Neil Young and Whitesnake are worn proudly on the sleeve, with the blues tinged rock coming hard and fast. Vocally he’s not a million miles away from Phil Mogg, meaning that although he can certainly carry a tune he’s not going to win any awards. One listen of “Winter” had me thinking of dragging out a few UFO albums from the attic, whereas “Diamonds In The Wind” has more than a few similarities with “Rocking In The Free World”, although is by no means a rip off.

What Sora does, he does well. This is a very respectable bluesy rock album, and the man has some serious guitar chops when it comes to soloing. His vocals tend to leave me rather cold, though, as I’m more used to something with a richer melodic vein. I can imagine David Coverdale singing the likes of “Invitation”, and it would be a better song for it. Mind you, the solo in said song is of the quality a certain Ritchie Blackmore used to be known for.

I think that “Desire & Truth” will have plenty of appeal to the right people, and I suggest going to Sora’s MySpace page for a listen to see if you are one of them. For me it’s a case of close but no cigar, although I can certainly see where he’s coming from.
www.myspace.com/erolsora

SPV 2010
Review by Urban "Wally" Wallstrom,
4 May 2010

'Axel Rudi Pell - the heavy metal/hardrock guitarist from hell'. He's from Germany actually and his long and never-ending career started out with the band Steeler in the very early eighties. Pell formed his own group in 1989 and has recording as many as thirtheen studio solo albums ever since... all of them with North American vocalists: Charlie Huhn (Ted Nugent, Gary Moore, Victory), Rob Rock (Impellitteri, M.A.R.S.), Jeff Scott Soto (Yngwie Malmsteen, Talisman, Eyes, Journey) and the current one, Johnny Gioeli (Hardline). Great German singers are hard to find? And... believe it or not, the latter (Gioeli), the longest lasting band member of them all with the exception of Pell of course.

Any fan of the Pell-man will already know what kind of album and music to expect by now. "The Crest" makes no difference from the previous one... and the next one will probably remind you a lot of this one too. However, the album features an innovation as Pell has taken care of the production himself (for the first time). No surprise here, the guitars are very much 'upfront' as well as distorted to the max in order to disguise any lack of talent? I can't say that I enjoy the guitar tone on this record since it's a rather basic and muddy sound. Hardly the clear and distinctive tone you'd expect from a guitar hero? Yeah, well, I know that some would gladly put Pell in the same category as Yngwie Malmsteen... but that's really like comparing ABBA with Modern Talking. Then again... why would we??? Still, the instrumental track, "Noblesse Oblige" (Opus #5 Adagio Contabile), is a nice change from the 'mud' riffing and one of the highlights of the album.

Mystic Production 2010
Review by Endre 'Bandi' Hübner
1 May 2010

These dudes are from Poland and it explains some of the problems I had when playing the album. Somehow they do not seem to decide which way to go. All the musicians are absolutely talented and here and there it is more than obvious that they can write good stuff as well yet they failed to decide what to do with their talent. They have a singer who could sing really great, catchy melodies as he has both the voice and the technique to do so yet most of the times he's just growling and shouting as most death metal singers of that country do. I guess the local influence (of a very strong death metal scene) is to blame. So is the international mainstream metal trend, as these guys want to be the next Meshuggah or something similar. Too bad.

At times like the verses of "Spider. Clock. Motel" they show there's some potential in them for digestible music, not just mindless rage, yet there's not one single song without an "angry-teenager" part, a progressive wanna-ba part, add death-metal growling here and Japanese-oriented teenage emo singing there. Actually there's one song that sticks out with its composure: "I Can Hold" is a brilliant acoustic ballad (and it is just that from beginning to end, surprise-surprise) where Konyu, the singer shows his real talent. He sounds as good any American sleaze/glam singer and the song beats any mediocre Perris sleaze band hands down. Yet this is the only song tolerable from beginning to end, the rest of the album follows with the schizophrenic approach of wanting to be a little bit of everything… failing to be anything in the end.

ProgRock 2010
Review by Urban "Wally" Wallstrom,
27 April 2010

"Blues For Lazarus" - old school blues? Close... but no cigar. In fact, pay no attention to the sort of misleading title as this is old school prog-rock of the seventies. Well... that's obviously not the entire truth as pianist/keyboardist Michael Gill has created an fusion album of prog, blues, and jazzy arrangements. Opener, "Merlin's Journey", typical prog-rock of the seventies and hints of both Jethro and Genesis. The title track is indeed a basic piano blues. The sort of thing you probably could hear in any roadhouse and public open bar in America waaay back in time and place. "Arrakis" is an instrumental tune featuring tenor and soprano saxophones and a very jazzy grand piano by Gill.

Pie Music 2010
Review by Urban "Wally" Wallstrom,
2 May 2010

Mark Sweeney is normally the lead vocalist and frontman of the Swiss hardrock act Crystal Ball. "All In" is his second solo album since the debut in 2007 and it's been nicely produced by Michael Voss. The problem with "All In" is that it tries too hard to join the big Modern Pop/Rock boys by becoming the tacky pop boys. Sweeney, even with the added talents of American singer and overall Goddess, Robin Beck (she sings the duet "Moments"), former Kiss guitarist Bruce Kulick, and German rockers Jörg Michael and Stefan Kaufmann (they all guest appear on one track each), lack the necessary hooks and are merely churning out anonymous tracks such as the opening "Line Of Fire", "Why Do You Hate Me", "Still Alive" , "Gimmie A Sign", "Leave It All Behind", etc, etc.

WitchingHour 2010
Review by Urban "Wally" Wallstrom,
26 April 2010

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

Hmmm... made in china and the opening track feature a sing-a-long refrain that goes "well, well, well, well, well, I sit on you". Ehem, excellent... and it's probably just a culture thing over there anyhow. But seriously, M.I.C. and band leader Yvon Serré (vocals/guitars) are quite the eclectic bunch with plenty of tricks and gadgets up their sleeves. Determined to form a band, Yvon returned to China at he end of 2004. Within a matter of months he was playing with the bass players band, kicking things off with a massive outdoor show in Chengdu broadcast to millions of viewers all across China. Take that all you melodic hardrock bands all across Europe and the states while playing infront of 50 bozos and their close relatives. China is the place to be appearantly...

"Out 2 Rock" is their second album release and it's a not too shabby mix of classic rock, melodic dito, and merely a dash of punk. It's some kind of hybrid consisting of Cheap Trick(s), that other Elvis, and half a dozen more of acts from the seventies. It's quite obvious what kind of era and style Mr. Serré is mostly influenced by. "Out In The Rain" is basically Elvis Costello in disquise and a darn nice late seventies rock tune. "Something To Say" is Bob Seger rock and very much 'Stranger In Town' era. "Tell The Lies" is music more in the vein of modern metal/punk and the styles are very much a changing throughout the record. For example, "Rockin' Lucille" is a basic twelve bar boogie and Status Quo-like.

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

Bullroser Records 2010
Review by Eddie "Edtrader" Baggett
26 April 2010

Upon listening to this album I can't help but to think the lyrics and vocals are mismatched with the music. Very low in the sound mix and without much conviction. Even for growling type singing its hard to get a grip on it. Personally I think the straightforward singing of a female artist would fit in with the music better. And its best to remove the 'Christian' tag line as you really can't get any spiritual message from the songs. Musically it has enough heaviness to satisfy the hardcore crowd. At the same time it's got melody and decent song structure to satisfy the more mellow, classic rock fans. Doesn't have much of a bass guitar sound filled in correctly.

This album also has a similar feel throughout and its very easy to listen beginning to end. With the track 'Thorns' it has a close resemblance to Metallica's instrumentals. Especially Metallica's 1980's albums. To my ears I can feel a cross between Tony Iommi and Zakk Wylde guitar playing. One song that I get that feeling the most is 'Murk Of November'.

From what I understand about this album is that it basically was 3 years in the making. It started as a one-man project. With Pekka as the composer so this is more of a 'project' band.

To sum up this review I say this album would be better either as instrumentals or re-record them with a female vocalist. On the good side it's heavy, melodic, clean production, and timeless. A solid effort!!!
MySpace

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
18 April 2010

Picture this, five ordinary looking guys strolling around in what passes for an abandoned building, and proceed to nail home one of the most elegantly infectious riffs this side of Daughtry and Nickelback. Indeed, the sound of Red Letter Merchant is ridiculously familiar to any fan of typical U.S. Rock in the 2000's. They all have a similar kind of lead vocalist (in this case: Ryan Louis), and they all have mid-tempo styled melodies, which I guess are just there to lure in fans of both camps, ballads and rockers, since you're not quite sure what kind of song you've been listening to really?

It's mainstream U.S. schlock and these guys from Illinois are actually darn good at it. However, their material is dangerously close to becoming utterly stale at times... and surely we have the same kind of situation up ahead of us as back in the early 90's with the "death" of hairmetal??? How long can you beat a dead horse? Then again, let's not get started with the Hip-Hop and Gangsta Rap situation. They've been flogging the same old horse for the past 20 years!!! Again, where's the new music? And will the industry ever look for the next 'big thing' instead of coming up with the same old (c)rap???

Pivotal 2010
Review by Urban "Wally" Wallstrom,
23 April 2010

All you need to do is take one brief glance at the CD artcover (see pic. left), and you'll comprehend rather quickly what kind of music the lads of Stigma are all about. If that's not enough of clues already, Dr. Watson, the charming title, "Concerto For The Undead", should be enough for any Sherlock Holmes' amatuer to loudly proclaim the game is a foot, leg, arm, head, whatever!!! More hints can be found in their song titles as the scream out: "Chop His Head Off", "And They Died Happily Forever After", A Monstrous Feeling", "What About A Terror Ride", "3000 Years and Still Keeping It Real", " A Grave Situation", "Beat Me Maestro, Eight To The Dead" and "Doctor Skeleton".

Yes indeed, Italy's horror inspired extreme metal band strikes again with their April 2010 sophomore CD release. Fusing staccato and spastic guitar riffs with uncompromising breakdowns and lyrical themes revolving around horror, terror, zombies, and their beautiful grand mothers. Their blood dripping debut "When Midnight Strikes" from 2008' received a lot of praise by the once-so-great hardrock magazines such as Metal Hammer and Kerrang! Oh the horror, the horror!!! The terror, the terror!!! The syntax error, syntax error!!!

Ulterium Records 2010
Review by Kimmo Toivonen,
16 April 2010

Audiovision is a bit of a supergroup. Each one of the band members has another band's name attached to theirs, and those band names include Narnia, Divinefire, Veni Domine and Saviour Machine. So the musical talent is there, we've established that. Erik Mårtensson of Eclipse and W.E.T. fame is the album's producer, which means that it isn't likely that the platter sounds bad. That's my analysis of the facts. However wrote the band's bio took a slightly more passionate approach, saying that "fans of Rainbow, Whitesnake, Dio, Gotthard, Europe and Stryper will for sure love it" and that "songs like “Invitation”, “Keep the fire burning” and “We are not alone” will definitely become big hits." Bold words, but that's what press people are usually writing...

While I like all the bands Audiovision is compared to, I must say that this album leaves me a bit cold. It's an okay Christian Metal album, well played, sung and produced, but I have serious doubts whether any of these tracks will become hits, not even within the genre. There's nothing terribly catchy here, even though most of the songs do have decent choruses.

Christian Metal bands are bound to be compared to Stryper, and Audiovision make it easy by including one of Stryper's songs in the set. It actually represents the album quite well - their interpretation of "The Way" is heavier, rougher and vocalist Christian Liljegren sounds more like Ronnie James Dio than Michael Sweet. That sums up Audiovision's sound too, so if a Heaven & Hell/Dio/Stryper hybrid sounds good for you, off to the record store!

Highlights of the album: the stomping "Keep The Fire Burning", "We Are Not Alone" and "We Will Go".
MySpace

Retroactive 2010
Review by Urban "Wally" Wallstrom,
16 April 2010

"Beneath The Shadows" by CCM, U.S. band, Jacobs Dream, a concept album in the style of Saviour Machine and Queensryche. It's basically a story about a fictional character (Camren) who once had that great life almost everyone aspires to achieve. Beautiful wife, loving children, prestigious job. Apperantly there's a darker story to his past as our main character lived a life filled with drug abuse and crime. And what would you know, Camren loses his job, becomes a drug dealer, and struggle to keep his faith, family, and sanity for that matter. Well, there you have it, you could say it's a reality drama 'ala the 2000's and not some kind of weird fantasy concept.

AOR Heaven 2010
Review by Urban "Wally" Wallstrom,
19 April 2010

Yeah, we've all been through a lot of metal albums and music over the years. And yeah, I'm sure we all grew up believing in the hardrock code of 'being true to heavy metal' and don't pay attention to any other life-form nor music. But seriously... what kind of schmuck would honestly believe in these words when you're no longer a teenager??? Surely we all must have a wider appreciation of other types of music? Hey... I'm no stranger to Pop, Rock, R&B, and what not? Shylock on the other hand are paying no attention to any sub-genre as they're lolling around with a brand new copy of their latest CD, "Rock Buster".

ProgRock 2010
Review by Urban "Wally" Wallstrom,
22 April 2010

Venezuela? Venezuela?? Que??? Wow!!! All apologies for my corny reaction. Yes, I'am fully aware of the fact that we're living in the era of the world wide web (thank you very much) and everything's just a click away nowadays. However, this is still a rather exotic and unique happening at the RockUnited site. It's not everyday you receive a progressive rock CD from this particular part of mother earth. Okay, their record label sent it... but you know what I mean...

Clearly you could almost expect to find a CD filled with latin rhythmes and folk music influences from their homeland? Ehh... no? Echoes are a very "ordinary" sounding prog act and you sort of end up disappointed somehow? Stereotypes are bad and don't ever judge a book by its cover, etc, etc. Their debut album is a mixture of classic prog-rock and math metal (old school readers not familiar with the "math" term should know it's basically a new name for complex 'thinking man/womans' prog) with a lot of post-rock, pop and industrial electronica thrown in for good measure. You won't find a lot of the latter though and there's no need to worry if you're not into the genre.

SPV 2010
Review by Urban "Wally" Wallstrom,
21 April 2010

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
22 April 2010

"The Bat Racers are setting a new standard in Progressive Rock with their own brand of technicality and execution". Yeah, it's obviously a statement from the band's hyped press release of the 6-track mini-album "Big Cash". I have to disagree with some of these statements as it's really not a new standard, it's hardly "progressive rock" for that matter, and own brand of technicality??? They actually sound like any of those quirky, gritty, rock bands of the seventies. You know... like a vast melt pot of melodies from the likes of Television, Cockney Rebel, April Wine, Climax Blues Band, etc. I don't know about you guys, but I would hardly call it progressive rock?

<Eagle Vision 2010
Review by Alan Holloway,
13th April 2010

The Chickenfoot collaboration and subsequent album was a rather big hit, so it’s pretty natural that the sell out tour would be filmed and fired back at the adoring public at some point. That point is now, with a full set from Phoenix Arizona here for your high definition pleasure.

Anyone doubting that these good ol’ boys could cut it live can eat their words, as for ninety minutes the Dodge Theater gets it’s socks and cocks well and truly rocked. Sammy Hagar, now at least 128 years old, hits every note in style, thick sunglasses disguising the fact he sold his eyeballs to the Devil to be able to sing this well for so long. 16 cameras capture the action, and there’s plenty of close up shots of Joe Satriani widdling away at his fretboard like a man possessed. Chickenfoot fully realise that if you have Satriani in your band you have to give him plenty to do. Even bassist Michael Anthony has time to show off his skills without having to detour into boringly long solos.

Chickenfoot logos adorn the guitars, stage and drum kit, although drummer Chad Smith goes for the more retro look with a classic Bad Company shirt. The set list is basically a mixed up version of the album tracks, including the “bonus” track “Bitten By The Wolf”, which breaks up the set nicely with it’s badass acoustic blues stylings. After using up their own songs, the band finish up with “My Generation”, perhaps relishing the irony of dying before they get old, perhaps not.

The concert footage is well shot and the sound perfect, as it is with most live DVDs these days. The band are on fire, and each member’s personality comes over nicely. The songs are even better than on the album, with Hagar’s live delivery adding urgency and the live guitar giving off a raw power. There’s really no reason not to invest in this if you liked the album, and on top of the gig there’s also a good documentary. Worthy stuff indeed, “get Your Buzz On” is one of the better live packages of recent times.
www.chickenfoot.us

Retroactive 2010
Review by Urban "Wally" Wallstrom,
16 April 2010

20 years of Kreyson? I haven't got a clue to what kind of era and years we're talking about here? Kreyson is however a Czech (the home of the mullets) CCM heavy metal band that has released multiple albums over the last twenty years. Well, there you go? I guess that some of these tracks dates all the way back to 1989/1990. Nevertheless, this is indeed a compilation CD with re-recorded classic metal hits from the Czech Republic's finest. Ehem, the latter according to the nice sticker on the CD of course.

<Riff City Records 2010
Review by Alan Holloway,
22nd March 2010

FM. There was a time, in the second half of the 80s, when I was obsessed by this band. Their first two albums are genuine AOR classics , as was the fourth, with the others always managing a few cracking tracks. “Dead Man’s Shoes” in 1995 was a weak album that had almost none of the FM magic, and the band wisely called it a day. Since then, AOR fans have been treated to several albums featuring Steve Overland’s magic tonsils, but it’s great to hear him back where he belongs.

There’s a new guy in the ranks these days, as blues master Jim Kirkpatrick replaces Andy Barnett on lead guitar, bringing a bit of (relative) youth to the band, joining keyboard player Jem Davis, Drummer Pete Jupp and Bassist Merv “The Swerve” Goldsworthy, although there’s every chance he may no longer go by that nickname…

So here it is, the first FM album since the decision to reform was taken a few Firefest’s ago. I’ll admit that I felt genuine trepidation before playing it, because if it had turned out to be a pile of monkey spunk I would have been crushed. As you can see by the score, there’s nary a monkey in sight, especially one spanking itself into a frenzy. This is a true FM album, no doubt about it, and it’s one that can hold it’s own against the originals without trying to copy them.

It all starts off with the lead single “Wildside”, chosen specifically because it doesn’t sound like your standard FM song, rattling along with big riffs and some mean soloing, it’s a great hard rock track that tells you there’s not going to be any ultra fluffy stuff this time round. It’s not lying, as although FM can still be described as an AOR band they haven’t gone back to the wimpy old days, with “Metropolis” having more in common with the excellent “Aphrodisiac” than debut “Indiscreet”. Some of the bluesy attitude from “Dead Man’s Shoes” remains, no doubt helped by Kirkpatrick’s recruitment, with songs like the very catchy “Flamingo Road” and the nicely emotional “Days Gone By”. “Bring Back yesterday”, “I Ain’t the One” and “Who Will Stop The Rain” are more traditional melodic rock, whilst album closer “Still The Fight Goes On” is seven minutes of slow burning genius, one of my favourite tracks on the album.

Elsewhere, “Don’t Need Nothin” borrows heavily from Poison’s “Unskinny Bop”, oddly enough, whilst “Over You” looks like being a live favourite with it’s insanely catchy refrain and twin guitar solo. Through it all there’s no mistaking Steve Overland’s fantastic voice, sounding as good here as he did back in 1986. The self produced disc sounds great, and there’s no doubt whatsoever that long term fans will lap this up.

In all honesty, it’s hard for me not to like this, as FM have been pretty constant in my collection for nearly a quarter of a century. There’s a couple of tracks (“Hollow” and “Unbreakable”) that whilst good are not up to the quality of the rest of the album, but I can honestly say that if you are a fan of quality melodic rock you really can’t go wrong with “Metropolis”. The boys are back in town, so come and join the party.
www.fmofficial.com

Retroactive 2010
Review by Urban "Wally" Wallstrom,
11 April 2010

Liberty N' Justice are one of those all-star projects who claim to have devolped their sound and style to perfection over the years. No wait... this could just be my runaway brain talking... since the main guy from Peoria, IL (Justin Murr) seems to be a humble and nice bloke. I don't believe for a second that Murr thinks of himself as perfect... but probably pretty darn close to anyhow. Why else would the man continue to gather a bunch of washed-up eighties rockers on his CD projects? It's his one and only chance to shine in the spotlight, bucko, since the rest of the musicians are probably too doped up anyhow?

Nothing could be further from the truth really!!! Murr takes the backseat and the 'all-stars' are the ones to shine on Liberty N Justice. Murr co-wrote all material with the star artists, does a bit of background vocals and the occasional bass-line. The rest is really up to the guest musicians and the majority of them actually deliver top notch schtuff this time. Well, scratch the first two tracks as they are easily the worst ones around. Not the best tracklisting in my opinion. The opening title track featuring Phil Lewis of L.A.Guns and JK Northurp of King Kobra, plus the following, "The Other Thief" (Dale and Troy Thompson of Bride), are hardly worth the touble. But hey.... the fun starts from this point on. Track by track...

"Blink" featuring Lynn Loiuse Lowrey of Vixen and Eddie Ojeda of Twisted Sister sounds like if KISS hired a female singer. Very catchy. "Do What You Believe" is a marvelous power-ballad in the vein of classic Firehouse (the first two albums). Not all that strange either since it's CJ Snare on vocals and Bill Leverty on guitar from that very band. "Man Vs. Mother Nature" is fun-fun-fun rock featuring Ted Poley of Danger Danger. "Treading On Sepents" with Les Carlsen of Bloodgood on vocals and Oz Fox (Stryper) on guitar comes out sounding like early Bloodgood material. Very classy. "Uncle Sam" is deadly catchy rock featuring Sheldon Tarsha of Tarsha/Adler's Appetite and Jeff Pilson of Dokken. "Every Reason To Believe" written by Lyndon Perry and sung by Keely Keeling (Baton Rouge) is a smashing acoustic guitar ballad in the vein of House Of Lords and Alias. "Wrestling With God" is probably the catchiest song off the CD (feat. Pete Loran and Steve Brown of Trixter) and I end up screaming loudly along to the refrain. Very classy melodic hardrock 'ala the eighties.

"Best Time We Never Had" is another homerun for the Liberty N' Justice team. Pro-wrestler Chris Jericho on vocals and Def Leppard's Phil Collen on guitar. "Beautiful Decision" feat. Harry Hess and Pete Lesperance of Harem Scarem sounds like, surprise, surprise, Harem Scarem. "Drunk Dead Gorgeous" is another KISS sounding song (verse) with a modern sound (chorus). Marq Torien of Bullet Boys on vocals and Chris "Chewbacca" Holmes of WASP on the six-string. Robert Mason of Lynch Mob and Warrant's Jerry Dixon team up on the average sounding "Greed". The least impressive track since the opening two. The closing track, "For Better Or Worse", feat. Shawn Pelata of Line Of Fire/Walking Jonah is an ok attempt at writing a Journey ballad.

Maybe Records 2010
Review by Alan Holloway,
7th April 2010

There’s a bit of a Foo Fighters thing going on here. For a start, singer Richie Mills is usually found behind a drum kit for the likes of Cable and more. Like Dave Grohl, he proves to be more than capable of fronting a band, with a similar style of singing that carries a tune then happily jumps up and down on it without losing a note. With that said, it all makes “Decader” sound rather like a lost FF album, and whilst I’ve been playing it several people have asked me if it’s the Foos. Whether this is a good or bad thing is up to you.

When it kicks off with the grungy “Homebound”, the album gives a broad hint that this is going to be an angst y but melodic affair, with Mills’ voice soaring above some heavy riffage that’s not a million miles away from Audioslave. Things move into a decidedly Foo Fighters groove with the single “Hello Mellow”, which has a refrain that will echo round your head until you force it out with something by Reckless Love. There’s less power than in the opener but more delicious melody to lap up.

“Decader” is a very complete album. There’s no obvious fillers and a lot of emotion stacked up within the eleven tracks. The Foo Fighters comparison is totally unavoidable, but I can honestly say that Mills have produced a better album that FF have so far. Okay, so the Americans may have better singles and funny videos, but Mills have a real knack for keeping you listening long after the polish has worn off their rivals. br>www.myspace.com/millsrocks

Escape 2010
Review by Kimmo Toivonen,
15 April 2010

O.H. Y.E.S.! Dots are the coolest thing in melodic rock now...or not. Anyway, N.O.W. is a Brazilian band formed and lead by bass player Alec Mendonça, who's responsible for the songwriting and the production on the album. To fill the lead vocalist spot, Alec sent the material to a few people, and one of the discs found its' way to Philip Bardowell. He liked the songs, and offered his services. That was one nice twist of fate for N.O.W., and it probably made it quite a bit easier for them to get a deal. Bardowell's vocals definitely raise this album to a higher level.

"Force Of Nature" contains 12 melodic rock songs. At their worst they are rather generic AOR, but at their best Mendonça's songs combined with the passionate vocals from Bardowell are a "force" to be reckoned with indeed. My favourite tracks are "Once That Feeling Comes Again", "Peace Of Mind" and "Hail Mary", all fine melodic songs. As for the rest... well, there's nothing really average on the album, but somehow the overall vibe of the album is maybe a bit too mellow and "polite". Bardowell throws himself into the songs with full force, but when the material really isn't that exciting to start with, there's only so much he can do.

This is not a bad album by any means, and fans of classic AOR and Philip Bardowell should definitely check it out. If there's a second album, I do hope that Mendonça adds a little bit of edge and urgency to the songs. Faster tempos, razor-sharp hooks, please!
MySpace

Bullroser 2010
Review by Urban "Wally" Wallstrom,
11 April 2010

Mehida is yet another hardrock/metal project featuring Thomas Vikstrom. The ex-vocalist of Talk Of The Town, Candlemass, etc. has certainly been awful busy lately and it's difficult to keep up with the Swede. He's merely a gun for hire though as this is mainly the project of ex-Divinefire guitarist Jani Stefanovic. Essentially this is a finely crafted CD of quality tunes with the typical "bombastic" sound and formula of Stefanovic. Tracks like "Until The Day Breaks" and "Dream Giver" play mellower textures off the heavier sections, while "Wrath Of Flesh Fellowship" and "Land Of Oblivion" are straight ahead headbangers in the symphonic, neo-classical style.

Hardly everything that glitters is gold though. The track, "Draw Near To My Soul", basically a watered down version of the previous track on the CD (Dream Giver). Not to mention that "Abandoned" feels more like a long and ever lasting deja vú. Indeed, some of the songs are sort of interchangeable and thus lacking in variety from time to time. However, keyboardist Mikko Harkin provides a fitting atmosphere in the form of exiting and truly inspiring work on the ivory and ebonys. Vikstrom can really sing when he sets his mind to it, and he's definitely -in the zone- on this record. You may or may not already know that his father is a well-known opera singer in Sweden.

TSM/SLW 2010
Review by Urban "Wally" Wallstrom,
9 April 2010

"Darker City Lights" is a rather or make that v-e-r-y laidback Prog/Rock/Indie CD and a display of several different styles and influences. Landhaus is the name of the band, a three piece from Italy and certainly not Germany as the monicker may at first suggest. The power trio, consisting of Matteo Lando (vocals/guitars), Stefano Spina (bass) and Niky Collu (drums) wrote and produced the whole she-band... and they've actually managed to come up with some quirky and sometimes even interesting arrangements on their debut.

Their strangely mix of music genres manage to concoct a sound which goes along the paths of 70's Barclay James Harvest, Nosound (they're also from Italy, I believe?), REM (very early days), and the occasional Britt-pop song of the early 90's. Oasis? Confused? Well, let's just point out that Landhaus cover a lot of unholy ground in the space of one debut CD. To be honest. I'm still not quite sure what kind of music I've been listening to for the past couple of weeks. One thing's for sure, it's music for your laidback days since you won't find any "uptempo" tunes on this CD.

SwedMetal 2010
Review by Urban "Wally" Wallstrom,
10 April 2010

"Release The Hounds" with Violent Divine equils modern and slightly aggressive Sleaze Rock from Sweden. There's "gang" vocals and mere hints of hardcore and punk to be found within these tracks. However, even though it's basically immitigable old school rock, albeit, you probably need to be up-to-date, since the music tend to get increasingly punky. Then again... a lot of the sleaze rockers in the eighties were basically punks in disguise (or should that be 'punks in the skies'?).

The decadence dance begins with the intermarrige of darkness and hope, or rather the complete lack of the latter. "Welcome To The Divine". "Burn" is punky and Green Day-ish and comes complete with hardcore gang vocals and everything. Nice, but sort of simple and not really essential. "Sweet Blood" opens up with a riff and beat very similar to Motley Crue's "Dr.Feelgood" before it gets modern and darn catchy. The gang vocals continues on "For The First Time" and the enchanting calls of 'this is what I like - this is what I like - to kill for the first time', truly sets the mood and attitude of the band. Decadent indeed. They're playing the trusted old formula of devils music and the whole bad boy mentality. I must say that it works since I'd gladly 'Release The Hounds' on these schmucks. No seriously, they're pretty good at keeping it real.

SwedMetal 2010
Review by Urban "Wally" Wallstrom,
9 April 2010

Steevie Jaimz from Oxford (not bleeding Wales) started out in the early 80's in bands such as Treason and Crash K.O. A short spell in the USA followed with the band Idol Threat before the Jaimzter turned up in Wales (of all the places in the world!!!???) as the singer with Cardiff based galmsters Tigertailz. The Welsh version of Poison, no doubt, and one album (Young and Crazy - 1987) before the departure, under somewhat... ehhh... strained conditions, of vocalist Jaimz. I tend to use the term "vocalist" loosly here, since a lot of the 80's Glam-rockers were more into image and being a poser/poster boy.

This is supposed to be a brand new compilation of old tunes and various solo stuff. However, it's basically (?) a re-release of the comp, "Damned if You Do... Damned If You Don't", merely a new title. There's not much on this CD that's unavaiLable elsewhere in other words. All songs were written and recorded between the years of 1982 to 1990 and dates back to the days of Crash K.O, The 'Kick That Habit' EP and the projects War Party and Jaimz Gang. The horrible and darn right awful opener, "Ragamuffin", from the year of 1989 - pure shite and a total mess. I actually feel embarrased by the chorus part. Thank God, it's easily the worst song of the CD and you will find quite a lot of fine rockers here (there's a total of 13 tracks).

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

So this is how it ends… not with a whimper, but with an almighty bang, and that’s how it should be. “Sting In The Tail” is the last studio album we’re going to hear by the Scorpions, a band that’s been around for forty years now - not that you’d guess that from their energy. Album number seventeen is as fresh, energetic and downright catchy as the best of the rest, so settle down for a cliché ridden good time with Germany’s finest. Again.

With their last album, “Hour 1”, the Scorps ditched some of their trademark sound to try something a little more edgy, and it worked very well for a lot of people, including me. However, it looks like when they decided this was to be the last album they just decided to have fun making a record that basically screams out “THIS IS A SCORPIONS ALBUM” at every opportunity. In German, with a dopey smile on it’s face.

The Scorpions are one of the few bands that can get away with a lyric like “Bang Bang, rock with the gang”, as they do on the title track, as well as titles like “Ready To Rock” and “Rock Zone”, not to mention “Spirit Of Rock”. By now you’re probably getting the theme here, which is that the Scorpions would like to rock you, possibly like a hurricane. “Sting In The Tail” could easily have been the follow up to the now legendary “Love At First Sting” album, and it would have disappointed nobody at all. Vocalist Klaus Meine sounds as good as he ever did, and he gets the chance to belt out some extremely fun songs here. There’s all the ones with “Rock” in the title, naturally, along with “Turn You On” and “No Limit”, with the latter really allowing him to throw in some trademark notes in his beautifully unique voice.

It’s not all party party party, though, and it will come as no surprise to hear that there’s a good few ballads here as well. Top of the tree, and easily one of their best songs ever is “The Good Die Young”, an anti war song that will be fantastic live. The album closer “The Best Is Yet To Come” is another that will win over many fans on tour, with not only a heartfelt message but also a great little singalong bit as well. “Lorelei” and “Sly” are more traditional ballads, nice enough but otherwise unexceptional.

“Sting In The Tail” is an album that will allow people to fall in love with the Scorpions again. Those that drifted away at the end of the Eighties can come back to an album that is the equal of “Lovedrive” or “Love At First Sting”, full of punchy, party time rock done on the band’s unique style. Of course, it’s a great shame that this is the last one we’ll get, but what a way to go!
www.the-scorpions.com

KillerCobra 2010
Review by Urban "Wally" Wallstrom,
3 April 2010

Anyone looking for a rather uplifting and mindblowing experience should immediately stop searching. Simply put the CD, "Zalvatore Caine Incorporated" at the very top of your must-check list. The Swedes of Nifters have to be commended for their perfect blending of both style and substance. They have this crazy and darn catchy modern Hardrock/Punk/Rock/Emo going on at eleven (on a scale from one to ten) and merely fail to impress on the occasional track... since they're not quite as "unique" sounding as they might think they are?

No doubt, Nifters have their very own sound and style. However, their sound touches bases with most things from My Chemical Romance, Coheed and Cambria (minus the high-pitch vocals), to Anti-Flag, Story Of The Year, plus a dash of Extol. Avoiding comparisons with any of these bands might just be too tricky. Especially since they all share a common sense for catchy hooks and overall energetic structure. The songs though, are very impressive, and it's an entertaining combination of attitude and anarchy.

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

This is a reissue of Deliverance's excellent 1990 sophomore release, "Wepaons Of Our Warfare". The band were certainly one of the prime movers in the CCM Speed/Thrash metal genre. In fact, stick a pin somewhere between Metallica riffs, Queensryche type vocals, and Anthrax's lunatic fringe and you'll find Deliverance on a metal map of 1990.

Their riffing, big-guitar grind acts as the perfect foil for Jimmy P Brown's commanding vocals. Not quite sure if he lost some of his abillity to reach those really high notes á la Geoff Tate due to screaming and tours throughout the years? But, they're (the vocals) aren't quite as high-pitched as on their debut. Some might even say it's been merely downhill in the vocal department ever since? These vocals are very strong and commanding though, and sometimes with a bit of metal grit for good measure.

<Metal Heaven 2010
Review by Alan Holloway,
26th March 2010

Last year, Chris Laney impressed our very own Wally Wallsrtom with his debut solo album “Pure”. To be honest, he impressed me as well, as he added another paragraph to an already impressive CV that includes all sorts of producing awards. It must have gone down well elsewhere as well, as he’s back with a follow up, once more courtesy of our friends at Metal Heaven.

“Only Come Out At Night” is, unsurprisingly, more of the same. This is first class sleazy melodic rock with more than a few nods to Kiss, Treat and Def Leppard to name but a few. The tracks are lively, and Chris has no problems beating listeners over the head with a cliché or two, with songs like “Rockstar” (a shameless plug for the energy drink), “B4 It’s 2Late” and “I Had Enuff” drifting by without a hint of self consciousness. When this sort of thing is done in a half assed way it’s a real chore to wade through, but Chris Laney has delivered another album full of catchy songs backed up by great playing and topped off by a perfect production, although the last comes as no surprise.

This album doesn’t pretend to be anything it isn’t, and that is part of it’s strength. There’s no duff tracks here, and they all have their own identity so you don’t feel like it’s just variations on a theme. There is a bit of that “more of the same” feeling, which lessens the impact a bit, but the quality is high enough to ensure that “Only Come Out At Night” gives Chris Laney another successful release.
www.chrislaney.com

<Hopeless Records 2009
Review by Alan Holloway,
26th March 2010

It’s Emo time again, with the latest in a long line of pretenders to the large throne the likes of My Chemical Romance and All Time Low sit on. It’s a scene that’s showing no sign of slowing, with lively, punky music flooding out of every orifice in America, and in this case it’s Florida with an overflow of spiky haired bounce merchants.

Well, although this debut may not put them at the top of the punk pop tree, it should certainly get them a few healthy branches up. It’s nothing especially groundbreaking, but it’s invigorating, energetic and above all exciting music to listen to. For me, they have elements of My Chemical Romance, Feeder and even a bit of the more straightforward tracks by Coheed & Cambria. It’s worth checking out lead single !A Little Faster” on YouTube, as if it floats your boat you will really enjoy the album. Worth special mention is the penultimate track, “Burn the Night Away”, which is one of the best acoustic tracks I have heard for years, up there with “More Than Words” for beautiful simplicity. Kudos to vocalist Maika Maile for carrying it off. It’s followed by the best track on the album, “The World Calling”, a great track that wouldn’t be out of place on a Lostprophets album. The other slow track, “Just In Time”, has more backing but still succeeds admirably where many bands fal l down. It’s nice not having to skip over clumsy attempts at slower tracks.

Ostensibly, there’s nothing especially new here, but There For Tomorrow should slot in perfectly amongst the Emo and pop punk legions. There’s plenty of angst and the lead singer has one of those silly haircuts that falls all over his face, but at heart it’s a fine slice of melodic hard rock, and what more can we ask for.
www.myspace.com/therefortomorrow

WitchingHour 2010
Review by Urban "Wally" Wallstrom,
25 Mars 2010

"Tree Of Life" are a marked improvement in the musical stakes at Witching Hour Productions. Sadly, though, the band are not one that makes much sense in an otherwise rather brutal metal rooster. Terminal is the name of the young band and a vivid mix of old and new is their favourite game. It's a bit tricky actually as they mix Linkin Park sort of "metal" with progressive metal arrangements and keyboards. On the one hand they're quite pleasant to the ears, a nice breather from the gwarr stuff, on the other hand they're soooo utterly misplaced.

They seem to have taken it upon themselves to sound both as "modern" and traditional progressive at the same time. Commercial, yet... old skool? They're obviously confused as in not quite sure which foot to stand upon really. For the best/worst example, "Afterlife" starting out as a typical progressive metal tune 'ala Planet X, only to end up with rap-like vocals and a "modern" sound. Not to mention that, "Behind The Mask", is the best Linkin Park rip-off we've heard for a very long time. Daniel Moszczynski sings the lyrics about 'hiding behind a mask, losing grip of reality, standing naked in the crowd', etc. all we can think about are the endless hours they must have spent listening to early Linkin Park records.

<Mystic Productions 2009
Review by Alan Holloway,
21st March 2010

You’ve all heard of Titus Tommy Gunn, right? Well join the club, as for some reason this “legend on Polish rock and metal scene” has slipped under my radar. It seems he is the lead singer/bassist for Acid Drinkers, a Polish thrash metal band who have been knocking about for over 20 years. Naturally, when I learned this I was rather reluctant to put the album on, as Thrash metal is right up there with barbed wire pants for me.

Anyway, the fact that this review is more than six words long should tell you that Titus has moved away a bit from the thrash sounds, with his new stuff following a more standard heavy metal trail. The biggest hangover from his thrashy days is the vocals, and although the press release promises “funny lyrics” I can hardly work out one word in ten, so the hilarity is only notable by it’s absence. Titus is not a great singer, really, but just about gets away with it, growling and snarling his way through ten tracks here. Mind you, he plays a mean bass, most notably on “Grand+Snow+Gorilla”.

The most impressive thing about the album is some nice, fast guitar from Lemmy (not that one, a Polish one), and the powerhouse drumming from Viking doesn’t hurt either. The songs are okay, all very heavy and custom built for Devil signs and head banging, but there’s nothing that stands out or makes me feel that I ever want to listen to it again when there’s fluffier music with nice singing about. So, it’s not a bad album, really, and certainly might give those after a new metal voice a thrill or two, but in the end it’s just another small metal fish in a big pond.
www.titus-tommy-gunn.com

<Undergroove 2010
Review by Alan Holloway,
26th March 2010

Before we start, I am fully aware that the cover squatting by this review is possibly the worst one ever made. It brings to mind the shittest bunch of Black Metal retards ever to be allowed to regurgitate down a microphone and call it music. Fortunately for me this isn’t the case, and I was actually quite happy to sit and have a listen to G.U Medicine’s third album, but whoever chose that cover should be boiled in phlegm.

I saw the band supporting The Wild hearts a few years back, but their sound was so distorted I left them to it. Three years later and they’re still kicking about, so they must be doing something right. Musically, this is straight down the line head down heavy rock, with a good pace and a fair bit of shouting. Try to imagine the hardest bits of the Wildhearts and Therapy? Nailed together with a rusty skewer by a Stoner rock fan and you’re about half way there. There’s melody here, and some catchy refrains, but the main problem is that it’s all very repetitive, and by the final track you feel like you’ve listened to the album several times. It’s just all too simplistic to warrant much more than a casual inspection, although with that said there is a decent album waiting to escape the monotony. File under “meh”. br>www.myspace.com/gumedicine1

7Hard 2010
Review by Urban "Wally" Wallstrom,
3 April 2010

Black Candy Store is certainly a powerful, brash unit capable of bringing all the pieces together on their debut album. "Back To The Wall" sounds very professional indeed and I noticed it's been nicely mastered by Dave Collins of Linkin Park, Ben Harper, Soundgarden, fame. They're from southern France, but please don't hold that against them, since you won't find any dodgy accent of the past. Arno is a very capable singer and the rest of the bunch (Julien - guitars, Marco - bass, Flo - drums) are no pushovers for that matter.

BCS have adopted the "typical" post-Grunge sound on their debut CD. It's merely a shame that pretty much *all* the U.S. acts of today - already been there, done that, and bought all the t-shirts. 'Don't ever take the modern rock audience's enthusiasm for granted', could/ should be the overall message of this very CD. It's simply just not enough to include some old riffs and copy the old masters of the genre. You need to be deadly catchy to get away with murder. Then again, perhaps you won't find any Nickelback, Daughtry, wannabee's in southern France? They might just be alone on their massive post-Grunge crusade in their part of the world? Nah... wouldn't think so...

WitchingHour 2010
Review by Urban "Wally" Wallstrom,
18 Mars 2010

The music of Trauma follows an enstablished blueprint, as the Polish lads lays down a serious carpet bombing of death/thrash metal. Vocalist and overall cookie-monster, Kopec (Robert Jarymowicz), spits out the lyrics of agony, fear, madness, war, chaos, etc. as if each syllable burns like hot-choco (really?) on his tongue. Trauma is one of the most experienced Polish Metal acts, originally founded in the late eighties under the moniker of Thanatos, "Archetype Of Chaos" is their eight studio release.

Developing from an unknown bunch of unfashionable weirdos with a couple of good tunes, to a rather well known act of the genre with a fistful of good songs, Trauma are apparantly ready to take on the world, they're still a bunch of weirdos though. With tracks like "Cortex Deformation", "A Dying World", "Destuction Of The Demented World", it's obvious that the Trauma-team have come to claim all the earthly weirdos as their own. The band is really up for the task as these tracks speak of great musicianship and overall studio and live experience.