Monday 27 August 2012
Sunday 19 August 2012
In This Moment - Blood
Posted on 12:27 by Unknown
This is my first listen to In This Moment and I'm impressed with their dark alt. metal. It is a solid merging of groove and melody that has hints of scream-o and industrial music which creates more than the typical gothic chick fronted rock band like Evanescence. The single "Blood" takes the genre and turns it on its ear with a completely accessible rock structure that should send them straight into the mainstream of the hard rock genre and the supportive radio stations.The band really hit their stride with "Whore" that is part "Lose Yourself" and part "Ladylike" by Storm Large.
When the group kick it up like on "You're Gonna Listen" they draw the listener completely into what their doing. Has enough for the rockers but could easily satisfy a dancefloor that feels like losing their minds and pogoing while attempting to bang their heads. After some oddness of intro's and mellower material the metalcore shriek comes back full force on "Comanche" that has a wicked breakdown at 1:35 in the song that drops into a marching groove about 1:40 then blends in Viking chanting, how freaking great is that! The angry pain is repeated until the songs ending which is very effective and makes this one of the albums better tracks.
With a ton of credit to Marylin Manson and Trent Reznor and on a smaller scale to Type O Negative and Ministry this album blends a bunch of what makes those artists great into a decent package. This is worth purchasing if you get off on this genre.
When the group kick it up like on "You're Gonna Listen" they draw the listener completely into what their doing. Has enough for the rockers but could easily satisfy a dancefloor that feels like losing their minds and pogoing while attempting to bang their heads. After some oddness of intro's and mellower material the metalcore shriek comes back full force on "Comanche" that has a wicked breakdown at 1:35 in the song that drops into a marching groove about 1:40 then blends in Viking chanting, how freaking great is that! The angry pain is repeated until the songs ending which is very effective and makes this one of the albums better tracks.
With a ton of credit to Marylin Manson and Trent Reznor and on a smaller scale to Type O Negative and Ministry this album blends a bunch of what makes those artists great into a decent package. This is worth purchasing if you get off on this genre.
The Darkness - Hot Cakes
Posted on 09:54 by Unknown
The novelty act that merges Glam Rock with Queen has reunited and recorded yet another quirky set of misfits that somehow are songs. The same issue I had with the band with their breakthrough is still present but much less of an effect over the entire set of tunes. Hawkins voice get to a point where you just want him to sing the damn song straight up without the falsetto. With that said it would make the band more tolerable and enjoyable over an entire album but maybe that is the only thing they have so it continues to be on every single song that Hot Cakes has on it.
The band plays great music and this album has some really great riffs and solo's which are nice to hear being a Glam Rock fan as I am. The Bowie-esque "Every Inch Of You" that apes "Gene Genie" in too many ways and the ruins itself with the 'suck my cock' shriek of Hawkins is so frustrating that I get a little annoyed listening to it. Why bother writing a good song then making such a lame choice with a lyric of childish stupidity so it can't be played on radio nor when children might be around.
The second song is pretty typical awkward fare for The Darkness which isn't horrible but has too much going on within its borders. An excellent riff opens "With A Woman" that ACDC would be jealous of and man if only Bon Scott was here to belt out some lyrics to this groove. More frustration abound as the song "Keep Me Hangin' On" plays through. But here the band are pretty straight forward with less of the stupid stuff and novelty act schtick. Another really good song is "Everybody Have A Good Time" that could actually have a chance to be a hit for the group. The song has a great 70's flair and uses the Queen sound to excellent effect.
The very Saxon riff in the opening of "Street Spirit (Fade Out)" is very cool but the lack of guttural aggression in the vocals doesn't turn this song into a monster. Think if Biff or Halford were leading this song and how bloody brilliant it would have ended up being. The deluxe version has some demo material that is pretty useless and a couple of bonus tracks "Pat Long Ladies" is good to be honest. It's too bad that Justin Hawkins has to be the singer and someone like John Corabi or Gary Cherone couldn't sing these songs because then this album would be freaking epic and complete masterpiece as musically there is a ton to love but vocally it all gets old pretty quickly.
The band plays great music and this album has some really great riffs and solo's which are nice to hear being a Glam Rock fan as I am. The Bowie-esque "Every Inch Of You" that apes "Gene Genie" in too many ways and the ruins itself with the 'suck my cock' shriek of Hawkins is so frustrating that I get a little annoyed listening to it. Why bother writing a good song then making such a lame choice with a lyric of childish stupidity so it can't be played on radio nor when children might be around.
The second song is pretty typical awkward fare for The Darkness which isn't horrible but has too much going on within its borders. An excellent riff opens "With A Woman" that ACDC would be jealous of and man if only Bon Scott was here to belt out some lyrics to this groove. More frustration abound as the song "Keep Me Hangin' On" plays through. But here the band are pretty straight forward with less of the stupid stuff and novelty act schtick. Another really good song is "Everybody Have A Good Time" that could actually have a chance to be a hit for the group. The song has a great 70's flair and uses the Queen sound to excellent effect.
The very Saxon riff in the opening of "Street Spirit (Fade Out)" is very cool but the lack of guttural aggression in the vocals doesn't turn this song into a monster. Think if Biff or Halford were leading this song and how bloody brilliant it would have ended up being. The deluxe version has some demo material that is pretty useless and a couple of bonus tracks "Pat Long Ladies" is good to be honest. It's too bad that Justin Hawkins has to be the singer and someone like John Corabi or Gary Cherone couldn't sing these songs because then this album would be freaking epic and complete masterpiece as musically there is a ton to love but vocally it all gets old pretty quickly.
Wednesday 15 August 2012
Loverboy - Rock N' Roll Revival
Posted on 15:16 by Unknown
So Loverboy thought it a good idea to re-record some of their live favorites and hits. That is where they entire project went wrong. The band sound horrible attempting recreate the greatness that was "The Kid Is Hot Tonight" the energy that went into the raw youthfulness of the song is gone and gone far away. Mike Reno can't even keep time with the vocal cadence anymore and sings it completely different ruining the songs sing-a-long fun.
As each re-recorded song plays I can't understand why they didn't spend the money just doing covers of other bands songs instead of their own. How about pulling out say "Nobody" by Doucette or "The Whole Worlds Going Crazy" by April Wine both songs would sound good sung by Mike. This kind of crap just doesn't cut it in a world where selling music is a hard road to hoe.
The band continue to screw up their classics with probably the worst version I've ever heard of "Queen Of The Broken Hearts". Considering I've heard it covered by a lot of bar bands back when it was a hit. But the absolute worst thing about this album is that they attempted "Working For The Weekend" and they don't even get the lyrics right. Now c'mon at least get the damn lyrics straight.
Overall the production is majorly compressed specifically in the over the top drums the nearly derail the album all on their own. But Paul Dean who's such a nice guy and I hate to be negative about because he's always been nice to me has put his guitars through a processor that just emlinates anything organic about the re-recording. I could accept this if they would have maybe done funky acoustic versions like the excellent Helix album Smash Hits...Unplugged! which was over the moon fantastic.
Now with the new songs the story is actually a lot different. Remove a shit ton of the kick drums on "Heartbreaker" and this song is really good Loverboy. I'd also have liked to hear more echo and some delay on Mike's vocals with huge background vocal harmonies added to it. The song is a good song and Bob Rock's production is not very good which is odd because he's so consistent. The mid-tempo power ballad-esque "No Tomorrow" is again a good song that with a remix might be a comeback hit for the band because it's really that good. But the title track which is great outside of the pathetic chorus is another story. The song is strong until the break into 'Rock N' Roll Revival blah blah blah It's All About Survival' OMG it is too cheesy but I freaking love the verses to death it is too bad that the chorus is so cheesy. I'm sure with more listens I'll get used to it and just like it because the rest is so great.
If the band could have just written more originals and created an E.P. and left the cover songs of their old material nowhere to be found it could have been something special. Good thing is Mike's turned his weight issues around and has been killing it live so I can only hope the band can put out some more new material with better production and continue to accentuate the positive and eliminate the negative as the old song said. Lastly the album art is excellent and take note new artists this is something most of you are terrible with so learn from the old dogs.
As each re-recorded song plays I can't understand why they didn't spend the money just doing covers of other bands songs instead of their own. How about pulling out say "Nobody" by Doucette or "The Whole Worlds Going Crazy" by April Wine both songs would sound good sung by Mike. This kind of crap just doesn't cut it in a world where selling music is a hard road to hoe.
The band continue to screw up their classics with probably the worst version I've ever heard of "Queen Of The Broken Hearts". Considering I've heard it covered by a lot of bar bands back when it was a hit. But the absolute worst thing about this album is that they attempted "Working For The Weekend" and they don't even get the lyrics right. Now c'mon at least get the damn lyrics straight.
Overall the production is majorly compressed specifically in the over the top drums the nearly derail the album all on their own. But Paul Dean who's such a nice guy and I hate to be negative about because he's always been nice to me has put his guitars through a processor that just emlinates anything organic about the re-recording. I could accept this if they would have maybe done funky acoustic versions like the excellent Helix album Smash Hits...Unplugged! which was over the moon fantastic.
Now with the new songs the story is actually a lot different. Remove a shit ton of the kick drums on "Heartbreaker" and this song is really good Loverboy. I'd also have liked to hear more echo and some delay on Mike's vocals with huge background vocal harmonies added to it. The song is a good song and Bob Rock's production is not very good which is odd because he's so consistent. The mid-tempo power ballad-esque "No Tomorrow" is again a good song that with a remix might be a comeback hit for the band because it's really that good. But the title track which is great outside of the pathetic chorus is another story. The song is strong until the break into 'Rock N' Roll Revival blah blah blah It's All About Survival' OMG it is too cheesy but I freaking love the verses to death it is too bad that the chorus is so cheesy. I'm sure with more listens I'll get used to it and just like it because the rest is so great.
If the band could have just written more originals and created an E.P. and left the cover songs of their old material nowhere to be found it could have been something special. Good thing is Mike's turned his weight issues around and has been killing it live so I can only hope the band can put out some more new material with better production and continue to accentuate the positive and eliminate the negative as the old song said. Lastly the album art is excellent and take note new artists this is something most of you are terrible with so learn from the old dogs.
Sunday 12 August 2012
Owl City - Midsummer Station
Posted on 11:19 by Unknown
Today is a good day because the new Owl City disc arrived, the sun is shinning with a nice breeze up here on the mountain. The album art work is excellent and now can this album live up to the excellence displayed on the packaging? "Dreams & Disasters" kicks off this glorious collection (answer to previous question answered) of electric sunshine twee pop. The song begs for everyone to jump up dance and sing-a-long to the chorus with giant smiles on their faces. That feeling is just so easy to achieve while listening to Owl City but this album has more of a dance vibe with songs like "Shooting Star" which is a perfect pop song. You will be hard pressed to find a better pop song many equal to it but hardly better in the genre exists.
Adam Young hits another near home-run with "Dementia" that just explodes with twee giddiness. His voice soars over the music as he sings Dementia youre drivin' me crazy in the chorus. As I mentioned the more club/dance side of his sound is more present on Midsummer Station and showcased more so on "I'm Coming After You" that is less electro-pop that the earlier stuff. Owl City with a nice balance draws it in a little with the very danceable pop of "Speed Of Love" but there is a little disco break between the chorus and second verse that reminds of the era of dance clubs.
As with his digital dreams the album is production perfection with the synthesized drums and massive keyboards and sequencers driving every track. The albums best track is number seven "Good Time" which features a slice of Canuck awesomeness in the form of Carly Rae Jepsen. Midsummer Station has eleven tracks of sweet bubblegum to chew on and lots of summer songs to crank while drinking frozen alcoholic beverages or cold vodka coolers while camping or spending a day at the beach. This album is one of the best summer albums of 2012 too bad its officially not released until summers nearly at its end.
The stark and sadness of "Take It All Away" has such a warm embrace to the music but the lyrics are all about the emotion in the ending point of a relationship. That is twee pop at its finest just as Boy Least Likely has perfected and Owl City can also do at a top shelf level. Midsummer Station is a worthwhile listen and has too much good to dismiss because your head might be firmly lodged in your arse.
Adam Young hits another near home-run with "Dementia" that just explodes with twee giddiness. His voice soars over the music as he sings Dementia youre drivin' me crazy in the chorus. As I mentioned the more club/dance side of his sound is more present on Midsummer Station and showcased more so on "I'm Coming After You" that is less electro-pop that the earlier stuff. Owl City with a nice balance draws it in a little with the very danceable pop of "Speed Of Love" but there is a little disco break between the chorus and second verse that reminds of the era of dance clubs.
As with his digital dreams the album is production perfection with the synthesized drums and massive keyboards and sequencers driving every track. The albums best track is number seven "Good Time" which features a slice of Canuck awesomeness in the form of Carly Rae Jepsen. Midsummer Station has eleven tracks of sweet bubblegum to chew on and lots of summer songs to crank while drinking frozen alcoholic beverages or cold vodka coolers while camping or spending a day at the beach. This album is one of the best summer albums of 2012 too bad its officially not released until summers nearly at its end.
The stark and sadness of "Take It All Away" has such a warm embrace to the music but the lyrics are all about the emotion in the ending point of a relationship. That is twee pop at its finest just as Boy Least Likely has perfected and Owl City can also do at a top shelf level. Midsummer Station is a worthwhile listen and has too much good to dismiss because your head might be firmly lodged in your arse.
Saturday 11 August 2012
Retro Rewind Track: Whitesnake - Slow & Easy
Posted on 16:10 by Unknown
Whitesnake - Slide It In
Posted on 16:07 by Unknown
After having a huge conversation/discussion about Whitesnake's North American breakthrough I decided to write a little about the awesomeness of the Keith Olsen's produced version. The album was recorded with the Moody-Marsden era UK Snake but it was the re-recording with Olsen that made this band into world wide superstars. Coverdale who was already many albums deep into the WS career over seas was only debuting the band on our shores and in that Kalodner was controlling the product and he wanted a slicker more metal feel and less of the bluesy styling of the previous catalog.
When you take both albums back to back and compare them two camps form one who enjoys the lesser and one who enjoys the glossy edition. I'm all about the glossy version that's what I like and it was served in a package that I fell in love with immediately. I actually heard these songs live the first time as I'd not heard of the band before seeing them open for Quiet Riot. They walked out on a darkened stage started playing "Slow & Easy" with only a white light shining from behind showing only silhouettes of the awesome foursome about to change my life.
Once the power punches of the song filled the Pacific Coliseum and the show was underway I was mesmerized. The band ripped through what I remember as nearly the entire album ending with a cover of Deep Purple's "Soldier Of Fortune" which was voiced by Coverdale in the Mark III line-up of the mighty Purple. It took until the next day when I had the album in my had and was listening to it on repeat for the entire day. I think I played that album six times in a row both sides. Finding that as great as the first side was that there was just as much excellent music on side two.
Still to this day my favorite track is the crushing "All Or Nothing" Coverdale sounds amazing on this track and the epic groove Neil and Cozy lay down here is pretty killer. John Sykes plays the guitars on the re-recording but there are still reminents of Marden and Moody which is fine but the UK version doesn't have the charisma in the guitar playing that Sykes adds. His flashy glam rock leanings really take the songs to the next level.
The strange thing about this album is that when I listen to in 2012 I still get the same enjoyment from it as I did way back in the wonderful year of 1984. The sexpolation that takes place on "Spit It Out" is exactly what a sixteen year old kid driving his kick ass '70 Chevelle SS had on his mind. The brilliant title track was one of those songs that got into your brain at first listen and never leaves. It's just a masterfully written song and the Zeppelinish "Slow & Easy" was the second coming just ask Robert Plant he was very vocal about his distaste of Mr. Coverdale's ability to out sing him at that point in time.
As far as I'm concerned Slide It In is still the best Whitesnake album and their next effort with lame Vivian Campbell never held a candle to this album. The band members changed on every album from her forward and DC never achieved this level of perfection again although he did resurrect an old tune from the past that has become a classic. When buying old Whitesnake albums start here and then go back to Trouble which is great but don't expect the sound of 1987's full metal assault. Then jump to Come & Get It from there you can fill your boots with whatever you choose. But always start with Slide It In because you can't find better hard rock music or better Whitesnake music either.
When you take both albums back to back and compare them two camps form one who enjoys the lesser and one who enjoys the glossy edition. I'm all about the glossy version that's what I like and it was served in a package that I fell in love with immediately. I actually heard these songs live the first time as I'd not heard of the band before seeing them open for Quiet Riot. They walked out on a darkened stage started playing "Slow & Easy" with only a white light shining from behind showing only silhouettes of the awesome foursome about to change my life.
Once the power punches of the song filled the Pacific Coliseum and the show was underway I was mesmerized. The band ripped through what I remember as nearly the entire album ending with a cover of Deep Purple's "Soldier Of Fortune" which was voiced by Coverdale in the Mark III line-up of the mighty Purple. It took until the next day when I had the album in my had and was listening to it on repeat for the entire day. I think I played that album six times in a row both sides. Finding that as great as the first side was that there was just as much excellent music on side two.
Still to this day my favorite track is the crushing "All Or Nothing" Coverdale sounds amazing on this track and the epic groove Neil and Cozy lay down here is pretty killer. John Sykes plays the guitars on the re-recording but there are still reminents of Marden and Moody which is fine but the UK version doesn't have the charisma in the guitar playing that Sykes adds. His flashy glam rock leanings really take the songs to the next level.
The strange thing about this album is that when I listen to in 2012 I still get the same enjoyment from it as I did way back in the wonderful year of 1984. The sexpolation that takes place on "Spit It Out" is exactly what a sixteen year old kid driving his kick ass '70 Chevelle SS had on his mind. The brilliant title track was one of those songs that got into your brain at first listen and never leaves. It's just a masterfully written song and the Zeppelinish "Slow & Easy" was the second coming just ask Robert Plant he was very vocal about his distaste of Mr. Coverdale's ability to out sing him at that point in time.
As far as I'm concerned Slide It In is still the best Whitesnake album and their next effort with lame Vivian Campbell never held a candle to this album. The band members changed on every album from her forward and DC never achieved this level of perfection again although he did resurrect an old tune from the past that has become a classic. When buying old Whitesnake albums start here and then go back to Trouble which is great but don't expect the sound of 1987's full metal assault. Then jump to Come & Get It from there you can fill your boots with whatever you choose. But always start with Slide It In because you can't find better hard rock music or better Whitesnake music either.
Friday 10 August 2012
P.O.D. - Murdered Love
Posted on 16:27 by Unknown
The rap metal CCM act known as P.O.D. has once again released a new album and considering how pathetic their last album of new material was this was not going to be an easy review. I liked the band when they first broke into mainstream airplay with "Boom", "Youth Of The Nation" and "Alive" because they had hooks and solid grooves. The bands almost instant slide down the garbage shoot was surprising and I pretty much disliked everything I heard from the group since that initial introduction. Their new release Murdered Love is a better record than its predecessor for sure and even one enjoyable song would make that difference.
The grinding hip-hop metallic crush of the opening cut "Eyez" is a decent song but then the title track is a giant piss. There is that poorly constructed Rage Against The Machine influenced mediocre crap. The band follows it with a better song then a more commercial song "Lost In Forever" which is the first single released from the album. The song is bit of a throwback to their breakthrough stuff but not as good of course. I'm pleasantly surprised by "West Coast Rock Steady" that mixes Beastie, Limp and a little of the California sound of Smash Mouth into their sound and it is a successful mix at that.
The band do the unexpected and write a very good sunny ballad called "Beautiful" that I am shocked to find that I really like. I mean I'm impressed considering I had not a thought that they would do a song like this and that I'd completely enjoy it as much as I do. "Beautiful" will be added to my I-Pod and that says a lot considering I am very picky with the music I do allow precious space on said I-Pod. After some more mediocre music the reggae tinged "Panic & Run" appears and I think I threw up a little but I continued listening and this aggressive punky chorus appears and disappears into an screamo shrilling breakdown and this song is a total mess clearly nobody knew what the hell they were looking to achieve on this track. It's like they took three separate ideas and just played them together calling it a song.
In the end this album, yes is an improvement over but even with a total nod to Suicidal Tendencies at certain times this band still don't put together hip-hop, skate rock, hardcore and metal in a package that makes me want to pay attention for more than a fleeting second. I will say thanks for one truly memorable track and a bunch of either mediocre or terrible filler but no thanks.
The grinding hip-hop metallic crush of the opening cut "Eyez" is a decent song but then the title track is a giant piss. There is that poorly constructed Rage Against The Machine influenced mediocre crap. The band follows it with a better song then a more commercial song "Lost In Forever" which is the first single released from the album. The song is bit of a throwback to their breakthrough stuff but not as good of course. I'm pleasantly surprised by "West Coast Rock Steady" that mixes Beastie, Limp and a little of the California sound of Smash Mouth into their sound and it is a successful mix at that.
The band do the unexpected and write a very good sunny ballad called "Beautiful" that I am shocked to find that I really like. I mean I'm impressed considering I had not a thought that they would do a song like this and that I'd completely enjoy it as much as I do. "Beautiful" will be added to my I-Pod and that says a lot considering I am very picky with the music I do allow precious space on said I-Pod. After some more mediocre music the reggae tinged "Panic & Run" appears and I think I threw up a little but I continued listening and this aggressive punky chorus appears and disappears into an screamo shrilling breakdown and this song is a total mess clearly nobody knew what the hell they were looking to achieve on this track. It's like they took three separate ideas and just played them together calling it a song.
In the end this album, yes is an improvement over but even with a total nod to Suicidal Tendencies at certain times this band still don't put together hip-hop, skate rock, hardcore and metal in a package that makes me want to pay attention for more than a fleeting second. I will say thanks for one truly memorable track and a bunch of either mediocre or terrible filler but no thanks.
Fozzy - Sin & Bones
Posted on 14:10 by Unknown
Fozzy which has been around for a few years now and has consistently improved from their early days ripping out covers of classic metal tunes. The band's return this time around Sin & Bones is another metal assault but comes through a little more comfortable sounding and much less stunted as was the huge issue with the last record. This time around the band sound more like a real band and less like a side project. The albums opening intro of "Spider In My Mouth" is excellent but the song overall is only OK with a decent chorus but lacking in the verses and Jericho's voice is buried in the mix.
The single titled "Sandpaper" that features lead screamer for emo-metal act Avenged Sevenfold is a major improvement from the opening cut. The song is mid-paced almost radio friendly hard rock. I'm sure Octane will spin it but I don't see more mainstream radio stations like CFOX and such jumping on it unless the song takes off on satellite broadcasted stations and those inclined to spin this on the internet stations. The thrashing introduction of "Blood Happens" easily the best of the first three tracks and Jericho actually sounds believable. The short burst death vocal elements kick the song into respectability shockingly so. I think the band plays very well The Duke is riffing his way along nicely on this album and some of the breakdowns and instrumental passages throughout the album really make the whole package better.
Frank Fontsere and his skill from the thunder throne is very good as he is able to play straight up on the power ballad "Inside My Head" and then do some pretty good bashing inside the more metal and near progressive songs elsewhere on the album. The albums title track has a little thrash metal beginning that opens into what is the bands best song and their best overall song as well. I don't know why this wasn't the first single as it is far superior to "Sandpaper" it has a nice classic metal bridge about halfway through and has tight chorus that is immediate unlike some of the other songs that don't quite connect.
The album is only ten tracks long which in most cases is a good thing because too much can make this band a tad bit hard to listen to at length. The album does repeat the power ballad formula with "A Passed Life" that surely could be used in the Undertakers career retrospective video promo upon retirement at this years Wrestlemania. The no frills rock n' roll groove of "She's My Addiction" is akin to old school Saxon meeting Deep Purple. It's another really good song and I will for sure be listening to this track again. I honestly believe that this band is close to making a very strong album as once again they improve on many levels. Maybe some outside writers like a Marylin Manson, Rob Zombie, Desmond Child or someone of that ilk would get them over the hump.
The album plays to a close with "Storm The Beaches" running 11:34 and filling a whole bunch of the musical landscape ending the elongated track with nice ocean beach sound. I enjoyed the song very much with all the soloing and prog styled passages. The band have made a good record but it doesn't compete on the same level as new music from the metal masterclass. Testament, Anthrax, Overkill, Megadeth, HellYeah! or the newer bands like Unisonic, Thousand Foot Krutch, Kill Devil Hill or the melodic genius of Halestorm. Jericho is one helluva personality and has boatloads of charisma he's still lacking the proper amount hooks from his band to sit at the adults table so once again he's still a junior partner in the metal firm.
The single titled "Sandpaper" that features lead screamer for emo-metal act Avenged Sevenfold is a major improvement from the opening cut. The song is mid-paced almost radio friendly hard rock. I'm sure Octane will spin it but I don't see more mainstream radio stations like CFOX and such jumping on it unless the song takes off on satellite broadcasted stations and those inclined to spin this on the internet stations. The thrashing introduction of "Blood Happens" easily the best of the first three tracks and Jericho actually sounds believable. The short burst death vocal elements kick the song into respectability shockingly so. I think the band plays very well The Duke is riffing his way along nicely on this album and some of the breakdowns and instrumental passages throughout the album really make the whole package better.
Frank Fontsere and his skill from the thunder throne is very good as he is able to play straight up on the power ballad "Inside My Head" and then do some pretty good bashing inside the more metal and near progressive songs elsewhere on the album. The albums title track has a little thrash metal beginning that opens into what is the bands best song and their best overall song as well. I don't know why this wasn't the first single as it is far superior to "Sandpaper" it has a nice classic metal bridge about halfway through and has tight chorus that is immediate unlike some of the other songs that don't quite connect.
The album is only ten tracks long which in most cases is a good thing because too much can make this band a tad bit hard to listen to at length. The album does repeat the power ballad formula with "A Passed Life" that surely could be used in the Undertakers career retrospective video promo upon retirement at this years Wrestlemania. The no frills rock n' roll groove of "She's My Addiction" is akin to old school Saxon meeting Deep Purple. It's another really good song and I will for sure be listening to this track again. I honestly believe that this band is close to making a very strong album as once again they improve on many levels. Maybe some outside writers like a Marylin Manson, Rob Zombie, Desmond Child or someone of that ilk would get them over the hump.
The album plays to a close with "Storm The Beaches" running 11:34 and filling a whole bunch of the musical landscape ending the elongated track with nice ocean beach sound. I enjoyed the song very much with all the soloing and prog styled passages. The band have made a good record but it doesn't compete on the same level as new music from the metal masterclass. Testament, Anthrax, Overkill, Megadeth, HellYeah! or the newer bands like Unisonic, Thousand Foot Krutch, Kill Devil Hill or the melodic genius of Halestorm. Jericho is one helluva personality and has boatloads of charisma he's still lacking the proper amount hooks from his band to sit at the adults table so once again he's still a junior partner in the metal firm.
Monday 6 August 2012
Check Out: Owl City Feat. Carly Rae Jepsen - Good Time
Posted on 11:37 by Unknown
A perfect pairing and I can only hope they work together many more times in the future because this is awesome.
Sunday 5 August 2012
Retro Rewind Track: Rock & Hyde - Dirty Water
Posted on 13:57 by Unknown
Gloriana - A Thousand Miles Left Behind
Posted on 13:48 by Unknown
Didn't really have much interest in listening to this album but a friend asked me about it and so I thought I'd give it a chance and see if they were any better. This could have been a much more painful experience considering how the current country crop releases so much drivel. Once you get past the first track which isn't that good and has the vanilla factor that is ever present today in country music the album begins to pick up and back to back the group has two uptempo songs that are easily digestible and fun to boot. "Sunset Lovin'" and "Wanna Take You Home" both grabbed my ear instantly and reminded me of the great Shania Twain. Albeit not on her level of excellence don't be confused.
The songs are both catchy with good vocals and excellent Nashville production as you'd expect. As to be expected with Gloriana and their contemporaries the pace slows to mid-tempo and they croon a pseudo ballad "(Kissed You) Good Night" which is terrible its kinda like a grilled cheese sandwich that doesn't have enough cheese to make it delicious but its still ok. The next song again is over produced and that steals the organic sound needed to drive a song of this ilk. I like this sort of tune a lot when they are stripped back and just have room to breath instead of being calculated with all sorts of stifling knob twisting by a producer who is more interested in polish than in energy.
When the tempo picks up again Gloriana become likable bubblegum country pop music again. I believe they should be more playful and goofy on album and much less serious. If they would get the spirit of Jack White or the Black Keys and the fun side of Sugarland mixed into their sound just a touch to rough up the edges this group would be amazing. The band fall into Lady Antebellum craptacular territory with the faceless "Can't Shake You" a song that just plain old sucks. It's too professional and stiff. There is nothing good about this over directed fake emotion and this sounds like they don't believe what they are singing. Sure it has quality in sound but the performance lacks energy and instead of being powerful it is forgettable goo.
The pro's really out do themselves with "Soldier Song" another song devoid of all things important in making great music. They are going through the motions with a very wooden performance of song nobody but the moron who wrote it likes. Probably a record execs kid because this song is so contrived and ridiculous that I'm insulted after having to listen to the piece of crap. The album isn't a good album lets get that straight there is so much lame material on here that buying the two or three good songs are the only ones anybody needs to purchase.
Buy track two, three and eleven and really leave the rest behind. These sort of generic acts that Nashville produces at will sound the same, sing the same drivel, are nothing more than cash in throwaway acts. Gloriana will not be around making current hit music in five years. Sure they might have a couple of minor hits and still be on TV but it won't be because they have talent it will be because some idiot with money will pay their way onto talk shows and has-been festivals. These sorts of acts always fizzle and Gloriana is just another in a long line. People with no initiative to search for better music this is your ship jump on board. Those who can invest a little time in searching out something much better definitely make the effort you'll be glad you passed on this one.
The songs are both catchy with good vocals and excellent Nashville production as you'd expect. As to be expected with Gloriana and their contemporaries the pace slows to mid-tempo and they croon a pseudo ballad "(Kissed You) Good Night" which is terrible its kinda like a grilled cheese sandwich that doesn't have enough cheese to make it delicious but its still ok. The next song again is over produced and that steals the organic sound needed to drive a song of this ilk. I like this sort of tune a lot when they are stripped back and just have room to breath instead of being calculated with all sorts of stifling knob twisting by a producer who is more interested in polish than in energy.
When the tempo picks up again Gloriana become likable bubblegum country pop music again. I believe they should be more playful and goofy on album and much less serious. If they would get the spirit of Jack White or the Black Keys and the fun side of Sugarland mixed into their sound just a touch to rough up the edges this group would be amazing. The band fall into Lady Antebellum craptacular territory with the faceless "Can't Shake You" a song that just plain old sucks. It's too professional and stiff. There is nothing good about this over directed fake emotion and this sounds like they don't believe what they are singing. Sure it has quality in sound but the performance lacks energy and instead of being powerful it is forgettable goo.
The pro's really out do themselves with "Soldier Song" another song devoid of all things important in making great music. They are going through the motions with a very wooden performance of song nobody but the moron who wrote it likes. Probably a record execs kid because this song is so contrived and ridiculous that I'm insulted after having to listen to the piece of crap. The album isn't a good album lets get that straight there is so much lame material on here that buying the two or three good songs are the only ones anybody needs to purchase.
Buy track two, three and eleven and really leave the rest behind. These sort of generic acts that Nashville produces at will sound the same, sing the same drivel, are nothing more than cash in throwaway acts. Gloriana will not be around making current hit music in five years. Sure they might have a couple of minor hits and still be on TV but it won't be because they have talent it will be because some idiot with money will pay their way onto talk shows and has-been festivals. These sorts of acts always fizzle and Gloriana is just another in a long line. People with no initiative to search for better music this is your ship jump on board. Those who can invest a little time in searching out something much better definitely make the effort you'll be glad you passed on this one.
Check Out: Alanis Morissette - Guardian
Posted on 12:42 by Unknown
This is the first song in a very long time that I've remotely liked by Alanis. She still sounds a little to zen but this song has a chorus and verse and sounds like a song unlike much of her post Pill music. I do like this track and I hope she's going to continue to write complete songs instead of long winded poems set to moody melodies that suck the life out of you.
Colt Ford - Declaration Of Independence
Posted on 12:34 by Unknown
The acquired taste of Colt Ford returns one more time with Declaration Of Independence. If you enjoy his redneck rap or bbq, jesus and rebel american pride then you will find way too much to love on this album. I've always taken him with a grain of salt and found some songs to like in his catalog but I can't say I think he's a genius because the songs are always sold by their chorus and the actual singing talent that duets with him.
The album kicks off with a Hank Williams Jr. styled propaganda song using Queens "We Will Rock You" drum chorus as inspiration and back bone. The song, titled "Answer To No One" is typical in its I'm a tough american redneck douche bag that doesn't know anything but what the idiots in the republican church party of america tells them. Doesn't really have a great hook either so lets move on. Could it get worse? The answer is yes now with a Nicki Minaj groove Colt and Jason Aldean (countries most overrated male vocalist right now) use some auto-tune to help Aldean stay somewhat in key as they croon and rap over top of this slow jam that sounds like it was ripped off from said Minaj's debut record. The album continues to fall quickly into despair as the much less talented vocalist from the duo Brooks & Dunn, Kix Brooks lays vocals down on what is probably the most awful song of the three.
You get the flat monotone rap introduction of what is easily the best hook so far on the album crooned by Montgomery Gentry. Too bad that Colt is ruining what could have been a decent song for the fallen Montgomery Gentry. Suddenly a song that works appears with Jonathon Singlet driving the hook this time round. This is about freaking time Colt! The entire package works here with the more musical rap here and the excellent hook with a nice little fiddle solo that drops into a heavy guitar riff. As with all his previous albums this all gets pretty old quick.
So the album continues to make attempts to blend country and hip-hop with kid rock like rock elements with total failure for a large portion of the next few songs. Now if you need to vomit up some bad food play "Happy In Hell" feat. Boyz II Men and you will instantly have an empty stomach but use with caution, have someone with their finger on the stop or pause button so you don't die from being unable to stop after you get what you need out, out. Lets all be honest this is crap and I didn't mind a few tracks on his previous albums. Here Colt hits it right once and the rest of the time all it will give you is a headache and an upset stomach. It is time for this to come to a stop because there is nothing creative left in the fat mans tank. Shameful nonsense and I'm sorry to my ears for actually listening to it in the first place. My friend Josh-A-Sqwash who has hated this guy from day one finally has me sharing his opinion. No samples because I don't want to waste my bandwidth on such drivel.
The album kicks off with a Hank Williams Jr. styled propaganda song using Queens "We Will Rock You" drum chorus as inspiration and back bone. The song, titled "Answer To No One" is typical in its I'm a tough american redneck douche bag that doesn't know anything but what the idiots in the republican church party of america tells them. Doesn't really have a great hook either so lets move on. Could it get worse? The answer is yes now with a Nicki Minaj groove Colt and Jason Aldean (countries most overrated male vocalist right now) use some auto-tune to help Aldean stay somewhat in key as they croon and rap over top of this slow jam that sounds like it was ripped off from said Minaj's debut record. The album continues to fall quickly into despair as the much less talented vocalist from the duo Brooks & Dunn, Kix Brooks lays vocals down on what is probably the most awful song of the three.
You get the flat monotone rap introduction of what is easily the best hook so far on the album crooned by Montgomery Gentry. Too bad that Colt is ruining what could have been a decent song for the fallen Montgomery Gentry. Suddenly a song that works appears with Jonathon Singlet driving the hook this time round. This is about freaking time Colt! The entire package works here with the more musical rap here and the excellent hook with a nice little fiddle solo that drops into a heavy guitar riff. As with all his previous albums this all gets pretty old quick.
So the album continues to make attempts to blend country and hip-hop with kid rock like rock elements with total failure for a large portion of the next few songs. Now if you need to vomit up some bad food play "Happy In Hell" feat. Boyz II Men and you will instantly have an empty stomach but use with caution, have someone with their finger on the stop or pause button so you don't die from being unable to stop after you get what you need out, out. Lets all be honest this is crap and I didn't mind a few tracks on his previous albums. Here Colt hits it right once and the rest of the time all it will give you is a headache and an upset stomach. It is time for this to come to a stop because there is nothing creative left in the fat mans tank. Shameful nonsense and I'm sorry to my ears for actually listening to it in the first place. My friend Josh-A-Sqwash who has hated this guy from day one finally has me sharing his opinion. No samples because I don't want to waste my bandwidth on such drivel.
Saving Abel - Bringing Down The Giant
Posted on 12:03 by Unknown
The band Saving Abel have been fairly solid so far in their short career of three albums. The first single and title track is an OK song nothing to write home about but listenable for sure. The song that follows it titled "Michael Jackson's Jacket" annoyed me before the song even started and I still don't care for it. It's once again not awful just not very good either. The album doesn't really begin until track three "Amazing" which is a good song and more of what I was expecting from the radio rockers.
As always with this band their production is high end and the musicianship is also top notch. They don't rip it up with all kinds of solo's and brilliant melodic passages but they play well and sing well and write mostly decent material. The albums best song and the direction this band needs to dive head-first into is "You Make Me Sick" which is on par with the awesome "The Sex Is Good" from their last album Miss America. I really like the swampy southern rock aspect to their repertoire and wish they sit deeper in this pocket because the band write better songs when they embrace their more groovy deep south old school rock n' roll influences.
The album does have a few more songs that stand up to be counted and are really strong tunes like "Pictures Of Elvis" and the excellent "Me & You" but the album does run into a lot of trouble with filler material and once you have heard the best it has to offer the filler becomes even more noticeable. Even the Beatles stomping influenced "New Loser" which is a good song pales just a little after following two very excellent tracks in a row. The song is akin to the poppier side of Theory Of A Deadman but seems to have more depth musically. I love the drum sound on some of the songs where the kick is so snotty and in your face.
I'm pretty sure that "Me & You" will be a single and a hit at some here and if the label has any sort of brains firing properly the A&R department will get on releasing it as the second single to compete with the likes of Shinedown, Nickelback and so forth who are dominating the rock format right now. Nickelback who doesn't have a song this good on their current album have no chance to compete so really Shinedown who has more than enough will be the songs only real competition in the rotation slot. Saving Abel work their wheelhouse to great effect on "I'd Do It Again" that sounds like it could have been written in the seventies.
But you do get a song that derails the album and is bloody awful and that POS is titled "Bittersweet" it is an emo-tinged power ballad that is painful from the verses of mediocrity to the chorus that the overrated Daughtry might be responsible for to the ridiculously bad breakdown and bridge that makes me wince when it plays. It is a total mess this song but it gives way to "Those Who Wait" that does help relieve the pain of that holly terror mistake "Bittersweet" is at its core.
The song was so bad I think that is why I was left with a bad taste after the albums completion. The overtly religious CCM bullshit song "Parachute" is vomit worthy. I am just so sick of this topic of bullshit invading everything unnecessarily. There really is no reason for a band of mainstream aspirations to include these praise music songs in my opinion. I can get by with a nice uplifting gospel tune once in awhile because the powerful music and those huge choirs ripping it up sounds great lyrics aside but Saving Abel don't do that sort of gospel they write boring mediocre praise music that has no place in my world of music and that is party why this album derailed finishing on a sour note for me. If you stop listening at track nine the album is pretty decent but for garbage throwaways even without the praise lyrics and jesus blasting these songs would stink. Better lyrics couldn't fix them no way no how dull and boring would still be dull and boring.
The Best Buy bonus tracks are all garbage and might even be worse than the last quarter of the album. "Love Sadistic" is complete cheese and forgettable actually don't even bother listening to it in the first place you already have something better in your collection. The other two obviously weren't good enough to make the original albums cut, so as bonus tracks they don't improve this package at all. If you are a fan of this band you will find lots to enjoy for sure and if you are of the indoctrinated faithful you will probably like the vanilla crap that permeates the latter portion of the album as well. Saving Abel don't embarrass themselves with Bringing Down The Giant and that's about all. A mediocre album in a sea of elite music that is currently available right now.
As always with this band their production is high end and the musicianship is also top notch. They don't rip it up with all kinds of solo's and brilliant melodic passages but they play well and sing well and write mostly decent material. The albums best song and the direction this band needs to dive head-first into is "You Make Me Sick" which is on par with the awesome "The Sex Is Good" from their last album Miss America. I really like the swampy southern rock aspect to their repertoire and wish they sit deeper in this pocket because the band write better songs when they embrace their more groovy deep south old school rock n' roll influences.
The album does have a few more songs that stand up to be counted and are really strong tunes like "Pictures Of Elvis" and the excellent "Me & You" but the album does run into a lot of trouble with filler material and once you have heard the best it has to offer the filler becomes even more noticeable. Even the Beatles stomping influenced "New Loser" which is a good song pales just a little after following two very excellent tracks in a row. The song is akin to the poppier side of Theory Of A Deadman but seems to have more depth musically. I love the drum sound on some of the songs where the kick is so snotty and in your face.
I'm pretty sure that "Me & You" will be a single and a hit at some here and if the label has any sort of brains firing properly the A&R department will get on releasing it as the second single to compete with the likes of Shinedown, Nickelback and so forth who are dominating the rock format right now. Nickelback who doesn't have a song this good on their current album have no chance to compete so really Shinedown who has more than enough will be the songs only real competition in the rotation slot. Saving Abel work their wheelhouse to great effect on "I'd Do It Again" that sounds like it could have been written in the seventies.
But you do get a song that derails the album and is bloody awful and that POS is titled "Bittersweet" it is an emo-tinged power ballad that is painful from the verses of mediocrity to the chorus that the overrated Daughtry might be responsible for to the ridiculously bad breakdown and bridge that makes me wince when it plays. It is a total mess this song but it gives way to "Those Who Wait" that does help relieve the pain of that holly terror mistake "Bittersweet" is at its core.
The song was so bad I think that is why I was left with a bad taste after the albums completion. The overtly religious CCM bullshit song "Parachute" is vomit worthy. I am just so sick of this topic of bullshit invading everything unnecessarily. There really is no reason for a band of mainstream aspirations to include these praise music songs in my opinion. I can get by with a nice uplifting gospel tune once in awhile because the powerful music and those huge choirs ripping it up sounds great lyrics aside but Saving Abel don't do that sort of gospel they write boring mediocre praise music that has no place in my world of music and that is party why this album derailed finishing on a sour note for me. If you stop listening at track nine the album is pretty decent but for garbage throwaways even without the praise lyrics and jesus blasting these songs would stink. Better lyrics couldn't fix them no way no how dull and boring would still be dull and boring.
The Best Buy bonus tracks are all garbage and might even be worse than the last quarter of the album. "Love Sadistic" is complete cheese and forgettable actually don't even bother listening to it in the first place you already have something better in your collection. The other two obviously weren't good enough to make the original albums cut, so as bonus tracks they don't improve this package at all. If you are a fan of this band you will find lots to enjoy for sure and if you are of the indoctrinated faithful you will probably like the vanilla crap that permeates the latter portion of the album as well. Saving Abel don't embarrass themselves with Bringing Down The Giant and that's about all. A mediocre album in a sea of elite music that is currently available right now.
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