Reviews

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Wed
29
Mar

CREYE – III: Weightless (Album Review, 2023)

information persons: 
content: 
95%
Label: 
Frontiers
Artist: 
Score: 
95
Categories: 
Reviews

Absolutely superb slice of nu-Scandi melodic rock, bathed in synths and keyboards and occasionally delving into some heavier guitar driven tracks. This I think, could be the band’s best album to date – they have grown with each release so far.

And while the style is now fairly well-tread, with a lot of competition in the marketplace, the class of the songs and sonically tight production propel this to the top of the pile.

The album starts with gusto, but the closing ballad/rocker/anthem triple play is hard to beat.

“We are glorious” sing the guys on the opening number. Why yes indeed you are Creye. It doesn’t take a lot of words to describe what’s going on here, so I’ll recommend you just stop wasting any more time and go check this out.

Welcome to full blown musical maturity and congratulations on what will remain one of the year’s best Scandi-AOR albums.

Tags: 
 
Tue
03
Nov

CRAZY LIXX - Forever Wild (2019)

Score: 
96
Categories: 
Reviews

I’ve been a registered Crazy Lixx fan from day 1. I think the band shot themselves in the foot with their musical left turn on the third album Riot Avenue and have spent the last two albums re-establishing the sound their first two set up. Now we have album number six already! Forever Wild is the new definitive Crazy Lixx album.

The new lineup established with Ruff Justice has gelled and whatever the guys had in mind for this album, as far as delivering something great for fans, they’ve nailed it. If there’s a better album in this space this year, I’ll be surprised. This is an album that has one glorious hook filled anthem after another.

There’s some variety in among the songs and some longer than others which are cool to explore. The band in my mind is getting close to their Swedish friends H.E.A.T for sheer enjoyment and bringing the old school ‘fun factor’ to melodic hard rock.


Fantastic album from start to finish without a filler in sight. Anthems, choruses and hooks from the opening riff to the closing beat. Brilliant!

 
Wed
20
Jan

CREYE - II (2021)

Score: 
95
Categories: 
Reviews

Guitarist and founder Andreas Gullstrand said Creye have never sounded better and I’d have to agree. The superb pure Scandi-AOR debut has been bettered and expanded upon on ‘Creye II’ and the transition to new vocalist August Rauer seems complete with no interruption to the sonics or pure AOR fans fell in love with the minute the band were introduced to the world.

Creye ‘II’ uses a more contemporary production template, with more effects, some programming that give it a strong modern edge, but the songs and the vocals especially are pure 80s at heart.

The upbeat and free flowing tempo give the album a sense of urgency, and with only one ballad you might think its overkill. But the fact is there is so much texture within the songs, moments of reflection, big choruses, passages of moodier moments and then some moments of more prominent guitar, which comes as a contrast to the layers upon layers of keyboards and piano.

So many song highlights to speak of. At 13 tracks it might seem a little long, but the album clocks in at 42 minutes, so these songs are all straight down to the business of delivering heartfelt emotions and big choruses.


All in all, this is quite wonderful ‘old school contemporary’ record wrapped in the pure keyboard driven AOR of Scandi-80s pop/rock and the programming and production techniques of today. The production and mix are first rate, which is vital to making the record sound so fresh. It could easily have been a muddy mess if not done correctly.

 
Tue
16
Mar

CHEZ KANE - Chez Kane (2021)

Score: 
99
Categories: 
Reviews

I can’t recall the last time I heard a single album so packed with obviously over the top 80s melodic rock anthems. The songs, the production come from Crazy Lixx frontman and key songwriter Danny Rexon and the heavenly vocals come from Chez Kane, the British sensation who wasn’t even born before the glory days of hard rock were fading.

Through her group Kane’d and some attention-grabbing YouTube covers, she was a star on the rise until the inspired pairing with Rexon hit paydirt.

This is a powerhouse album is a throwback to the mid-late 80s where Def Leppard, Winger and Vixen all ruled their airwaves. And taking inspiration from the latter, this album sounds like a natural successor to the amazing Vixen album Rev It Up.

This is 47 minutes unadulterated, hands in the air fun. There’s no attempt here to reinvent the wheel, rather it is a vehicle to steer those wheels right back in time.

To say that Chez Kane can sing is to say yes, Eddie Van Halen can play guitar. I’m a big fan of bands pushing this genre forward and have championed many of the bands that do so. But sometimes you like and need to dive back into the favourites amongst your collection. With this album you can jump back without leaving 2021.

This album is everything that we loved about the stadium rock of the 80s, with all the energy of a big production and a healthy dose of keyboards and guitars, plus a thumping rhythm section.

Great fun songs with big choruses, harmony vocals and some inspired vocal melodies makes this a true 80s album without sounding like it was trying to be an 80s record. It just is, and credit should go to all.


If there was to be one essential female fronted album this year, then here it is folks. Utterly essential!

 
Tue
15
Feb

CITY OF LIGHTS - Before The Sun Sets (2022)

Score: 
90
Categories: 
Reviews

City Of Lights is one of the better new names being shuffled onto an increasingly weary buying public by Frontiers Records. It is an album that straddles the line between AOR and hard rock, that is - keyboards a plenty, but with guitars clearly dominating.

This is a collaboration between British newcomer songwriter/guitarist Neil Austin and Greek vocal ‘sensation’ Manos Fatsis. Manos has a quite heavy accent on the vocals at times, but his tone is pleasant – standing alongside the likes of Ronnie Romero or Tony Martin – tough but melodic.

Best appeal of this album is some very catchy songs – varied in flavour, but all delivering a decent chorus and I must say that production is higher than average in recent times.

Maybe because Degreed alumni Robin and Mats Eriksson form the powerful rhythm section.

There are a few of songs here that take a more melodic leaning that will no doubt stand out as instant favourites with the AOR crowd.

 
Fri
18
Feb

CIRCLE OF FRIENDS - The Garden (2022)

Score: 
92
Categories: 
Reviews

Bruce Mee is one of the better-known personalities behind the scenes of the melodic rock world. Starting with Now & Then Records he moved into his role as owner and editor of the now iconic Fireworks Magazine, which has dedicated fans worldwide.

Circle Of Friends is the moniker given to this project, put together by Bruce as a tribute to his late mother, who died of cancer in 2020. The majority of the singers and musicians appearing on the album are personal friends of Bruce’s and were all willing to help bring this wonderful concept to life – hence the title.

Of the 13 tracks featured on this wonderful slice of melodic beauty, four are covers and the remaining 9 are originals, most written by Sweden’s Mikael Rosenberg. Mikael has delivered some terrific songs here and his presence throughout gives the album a certain connectivity and consistency that some various artists projects don’t manage to pull off.

The lineup is really a who’s who of the melodic rock world. The rhythm section is supplied by drummer Josh Devine (Levara) and bassist Wayne Banks (Saxon etc) while Fredrik Folkare and Steve Morris provide guitars with Joel Hoekstra (Whitesnake) and Steve Mann guesting. Backing vocals come from Mick Devine (Seven), Gary Hughes (Ten) and Kevin Chalfant (Storm). Eric Ragno is here on keyboards and there’s many more. Read the full bio for all the credits!

All this has been meticulously put together by producer Khalil Turk of Escape Music with a phenomenal mix by Fredrik Folkare.

To the vocalists. There is the Queen of Metal, Doro Pesch, delivering the high energy opener ‘Little Piece of Heaven’, Jaime Kyle brings her own song ‘Take My Love To Heart’ to the CD, with backing vocals supplied by Kevin Chalfant (The Storm, Two Fires). James Christian gives one of my favourite pomp-friendly vocals on ‘Never Gonna Make Me Cry’; Jeff Scott Soto goes full melodic on ‘Bad Blood’ and Robin Beck (with James Christian on backing) does a ripping version of the Abba classic ‘Knowing Me, Knowing You’.

New star to the scene, Tao’s Karen Fell delivers the moody AOR of ‘Truth Or Dare’ and Robin McAuley knocks the big ballad ‘Alone’ right out of the park.

Canadian great Darby Mills delivers what she calls one of her favourite vocals on the big 80s anthem ‘Trick Of The Light’.


There are no fillers here, so discover the rest for yourself. Credit to everyone involved for making a really consistent, ‘contemporary’ classic 80s melodic rock record with plenty of keyboards, layers of harmonies and some outstanding lead vocal performances.

Production and mix are spot on and the songs are enjoyable from start to finish. The dominance of female lead vocals will give fans of that genre something extra to smile about.

PRE-ORDER: https://www.the-music-shop.net

 
Wed
25
May

CRASHDIET - Automaton (2022)

Score: 
99
Categories: 
Reviews

Simply glorious. No other word for it. The Swedish sleaze kings go a little further mainstream to deliver a melodic hard rock record with the same kind of energy you’d expect from a debut album.

The band continues to deliver album after album of well-constructed, intelligent songwriting, with hooks and melodies always in the forefront of their minds.

The new album has a modern sound, but a classic rock heart, and is immaculately produced and mixed for maximum effect.

Song after song of hook filled goodness – layered harmonies and swirling guitars.

There is a certain kind of kinship this album shares with fellow Swede’s H.E.A.T and Crazy Lizxx, but delivered in their own unique harder edged, sleaze influenced style.

11 songs and a short intro and every one of them demands attention, all that little bit different from the track before it.

This is a really heavy, engaging, in your face, uptempo album of pure melodic bliss.

 
Mon
25
Jul

CLEANBREAK - Coming Home (Album Review, 2022)

Score: 
90
Categories: 
Reviews

Singer James Durbin has been involved with several projects already that have recently come and gone (Quiet Riot, Durbin) and now his name has been thrown into the ‘Frontiers Random Band Generator’, throwing out the band Cleanbreak, again produced and arranged by in-house go to guy Alessandro Del Vecchio.

Do something often enough and you’ll get it right some of the time. For the projects like Skills that just haven’t worked, there are some that have. Iconic is one that has this year and now that’s joined by Cleanbreak.

I know how hard it is to keep up with all the projects and bands Frontiers throws at us, but Durbin teaming with Riot guitarist Mike Flyntz is his best collaboration yet. Not only do his vocals sound completely natural at last, but so do the songs he’s singing.

Needing employment while Michael Sweet is out doing his multiple projects, Stryper rhythm section Perry Richardson (Bass) and Robert Sweet (Drums) round off this project.

11 tracks, all rockers, no ballads might sound fairly intense, but there’s a good variety in pace and delivery here, so the album doesn’t get bogged down or repetitive.

Its just a good American sounding hard rock/melodic metal record with a strong lead vocalist, a great guitarist and a rhythm section that drives home the beat.

 
Thu
09
Mar

CALIFORNIA BREED – California Breed (2014)

Score: 
92
Categories: 
Reviews

As is the case with several Glenn Hughes fronted projects, this album might be a real handful to get into for some, but the rewards are great. Glenn Hughes moves on from Black Country Communion with pal Jason Bonham and new recruit Andrew Watt to create another groove orientated power trio. This project has more of a Hughes solo stamp on it than BCC did, with control issues between Glenn and Joe Bonamassa now a thing of the past.
And Glenn gets to indulge in his favorite pastime here – delivering groove and blues based classic hard rock with a strong 70s edge. Much of this album could have come straight out of 1978, whilst the rest relies on some contemporary production tricks and effects to make a blend of classic rock for the new millennium.

12 tracks and 51 minutes is probably a touch too long, the album might have been a bit tidier at 40-45 minutes max, but that’s a small issue. The main issue is that this rocks! I’m a longtime fan of Hughes who thinks he is at his best when rocking out. To have a project that does that, but also includes his love of soul and blues is ideal.
And while I was sorry to see the demise of BCC, fans of that project will easily adapt to this band.

From the opening swagger of The Way and the more commercial groove of Sweet Tea, this is Hughes and Bonham at their best. And newcomer Watt gets on the map with his first outing.
The album features a lot of Led Zeppelin influences, Chemical Rain and the ballad All Falls Down most obvious.
Thankfully the guys keep the tempo up for a lot of the album, with rockers like The Grey flowing beautifully.
When they do slow down to that slow Zeppelinesque groove, such as Days They Come and the ultra-slow Invisible, they add in very likable chorus hooks to keep things moving.

Not an album for everyone, but for those it is aimed at, expect an almost unanimous praising of this release. You’re either going to love it or hate it. Thankfully for me I love it – it delivers exactly what I expected from the continued collaboration of Hughes/Bonham and new guy Watt shows he will be around for a long while to come.

 
Wed
12
Jun

CRAZY LIXX - Forever Wild (Review)

information persons: 
content: 
96%
Label: 
Frontiers
Artist: 
Score: 
96
Friday, May 17, 2019
Categories: 
Reviews
 
I’ve been a registered Crazy Lixx fan from day 1. I think the band shot themselves in the foot with their musical left turn on the third album Riot Avenue and have spent the last two albums re-establishing the sound their first two set up.
 
Now we have album number six already! Forever Wild is the new definitive Crazy Lixx album. The new lineup established with Ruff Justice has gelled and whatever the guys had in mind for this album, as far as delivering something great for fans, they’ve nailed it.
 
If there’s a better album in this space this year, I’ll be surprised. This is an album that has one glorious hook filled anthem after another. There’s some variety in amongst the songs and some longer than others which are cool to explore.
 
The band in my mind is getting close to their Swedish friends H.E.A.T for sheer enjoyment and bringing the old school ‘fun factor’ to melodic hard rock.

Fantastic album from start to finish without a filler in sight. Anthems, choruses and hooks from the opening riff to the closing beat. Brilliant!

 

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Tue
26
Mar

CRANSTON - II (Review)

information persons: 
content: 
78%
Label: 
Indie
Artist: 
Score: 
78
Categories: 
Reviews
 
To those not paying attention, it might seem that PHIL VINCENT is in 17 bands, but the reality is it is only 5. And his solo career!
 
So yes, he's a busy lad and sometimes it might be valid to quote the quality over quantity cliche, but as long as he's delivering records like Cranston II, I don't think you could fairly use that.
 
CRANSTON is singer, songwriter, multi-instrumentalist Phil Vincent, AOR God Paul Sabu and D’Ercole drummer B.F. D’Ercole. So Phil isn't reaching far outside his musical circle for collaborators, nor is he delivering anything we haven't heard before - crunchy melodic hard rock with a slight pomp touch and those unmistakable Kip Winger styled vocals.
 
But the genuine warmth in which I hold Phil is testament to the material he delivers. Ok, so the production might not quite be there, but there's always a few songs from each album you treasure and there aren't too many fillers on offer. And he's a very fine guitarist too.

If American melodic hard rock with a pomp touch and a heavy Winger influence is your thing, then look no further.

 
Tue
17
Oct

CIRCUS MAXIMUS - Havoc In Oslo (Review)

information persons: 
content: 
86%
Produced By: 
Circus Maximus
Release Date: 
2017
Released: 
Worldwide
Musical Style: 
Progressive Melodic Metal
Label: 
Frontiers
Score: 
86
Friday, August 4, 2017
Categories: 
Reviews
 
Another live review and I could cut and paste many comments from my Tyketto review.
 
Fans - you know the material - the band are quite sensational musicians, so that's no issue, the songs come from the catalogue of Circus Maximus' releases, leaning heavily on the recent Havoc release.
 
All that's needed is that all important sonic thumbs up. And I'm happy to give it again. The recording sounds great, the mix is nice and clear and it sounds pretty raw and live to me. And there's no daft audience fading between tracks, this is a concert!
 
The songs - as complex as they are - these guys really know how to play and it's a joy to listen to them in a live setting.

Great stuff for all CM fans and fans of progressive melodic metal in general.

 

 
Wed
05
Oct

CRY OF DAWN - Cry Of Dawn (Review)

information persons: 
content: 
85%
Produced By: 
Daniel Flores
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
AOR
Label: 
Frontiers
Artist: 
Score: 
85
Friday, September 23, 2016
Categories: 
Reviews
 
Cry Of Dawn is the feature vehicle for Swedish vocalist great Goran Edman, this time partnering with one of Frontiers Records’ in-house producers, Daniel Flores (Find Me, Murder Of My Sweet). Daniel has had a busy year, with First Signal and Palace already under his belt and Toby Hitchcock still to come.
 
I’ve never found a Goran Edman album I don’t like and this is no different. He is one of those vocalists that just delivers time after time and it hardly needs stating that he sounds a million dollars here again. Flores again enlists Michael Palace to supply guitars, so it’s not surprising to find the musical bed of this project very similar to those others just mentioned.
 
Cry Of Dawn’s musical mission is not too far removed from that of Street Talk which he also fronts.
It’s not very often I’ll say this – but this time around there are too many keyboards. The absolute saturation of swirling keys on every track is just too much. There’s not enough room for the songs to breathe in my opinion.
 
Of course Edman does a killer job and most of the songs are pretty catchy. There’s plenty to like about the opener Chance and the slightly heavier Tell It To My Heart has a great bridge then chorus hook.
Light A Light and Can’t Go On are both very Street Talk in their sound and again feature killer choruses.
Hands Around My Heart is a beautiful ballad, but slightly overdone with the keyboards again.
 
I can’t stand the chorus in the second track Listen To Me, which is a shame, that ultra high vocal just grates on me. It’s probably the only weaker track here, there are others that don’t stand out as much as others, but nothing forgettable.

I love the vocals, I really love a few of the songs and the consistency of the album is a credit to the songwriters. I’m not so much a fan of the production style. As stated, I think the keyboards are way overdone and there’s not enough individual character in the album to make it stand out as a new band to rival those that came before them.
If you have the last First Signal and Find Me releases, you know exactly how this is going to sound. It’s good, but not quite as good as expected.

 

 
Sat
10
Sep

CRUZH - Cruzh (Review)

information persons: 
content: 
83%
Produced By: 
Cruzh
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
AOR
Label: 
Frontiers
Artist: 
Score: 
83
Friday, August 26, 2016
Categories: 
Reviews
 
 
Great to see Frontiers investing in new talent and this month sees a double header of more Swedish melodic goodness.
First up is Cruzh (crush) – a new three-piece (with a guest drummer) delivering an album of polish Scandi AOR with a strong keyboard driven 80s sound.
Think very early Bon Jovi mixed with the keyboards of Only Child, but with the vocals of REO’s Kevin Cronin gone glam? That make any sense whatsoever?
 
There is an aspect of sugary sweetness that might be a tad too sweet for some. And I do think the vocals can be a weak point within some areas on the album – the glam angle is played up on some songs.
 
The high points of the album are the riff driven First Cruzh; the anthemic Aim For The Head; the mid-tempo moodiness of Survive; the 80s rock radio styled You and the feel good fast moving Set Me FreeAn ambitious 7 and a half minute power ballad Straight From My Heart closes the album. The last couple of minutes are pretty spectacular.

A strong debut featuring a throwback sound and style, but a crisp production. The albums best songs point towards a bright future. Hopefully they can build on this for many years to come.
 
Thu
04
Aug

Crazy Lixx - Sound Of The Live Minority (Review)

information persons: 
content: 
86%
Produced By: 
Crazy Lixx
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
Hard Rock
Label: 
Frontiers
Artist: 
Score: 
86
Friday, July 8, 2016
Categories: 
Reviews
 
All any Crazy Lixx fan needs to know about this album is – does it sound any good?
Yes it does. Of course it does! Crazy Lixx kick ass!
 
And here on this career covering live album are 13 hard hitting tracks of glorious Scandi-melodic hard rock.
Does the live set cover everything? No, probably not. There’s always a song here or there some fan wished included, but for the most part the guys cover their bases.
 
The anthems Rock In A Hard Place, Lock Up Your Daughter, Sound Of The Loud Minority, Riot Avenue, Girls Of The 80s and the closing 21 Til I Die are all there and performed with great energy and enthusiasm.

It’s good stuff! Nuff said. If you’re a Crazy Lixx fan, you need this. Simple. A nice, raw, energetic live recording of a band that knows what they are doing!
Short review, but a simple one.
Tags: 
 
Thu
04
Aug

CIRCA - Valley Of The Windmill (Review)

information persons: 
content: 
75%
Produced By: 
Circa
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
Progressive Rock
Label: 
Frontiers
Artist: 
Score: 
75
Friday, July 8, 2016
Categories: 
Reviews
 
I’m not a fan of Yes. Never have been. Well maybe parts of 90125 and Big Generator, but otherwise no. Just not my thing. However, you cannot fault the musicianship or the song writing credibility of a band that has delivered for fans for over 40 years.
Circa is formed by current Yes member Alan White (drums), former Yes member Tony Kaye (Hammond, keyboards), current Yes member Billy Sherwood (bass, vocals), and guitarist Jimmy Haun, who played on the Yes album Union.
 
So match that information with the fact the album features just 4 songs and you should know exactly what you’re getting here.
Some quite brilliant instrumentation and some very Yes friendly higher pitch vocals layered over heavily progressive and innovative rock music.
The shortest track is 7 minutes and the longest is 18.
 
Ok, so it’s not my thing and it clearly is an album that will only appeal to progressive rock fans and Yes devotees, so my opinion isn’t going to mean much in the scheme of things.
What I can say is that it’s recorded nicely. Production is solid and the album is mixed with a nice balance of vocals and instrumentation with a musical bed that’s pretty light, certainly not a hard rock affair.

This review is more or less to advise the curious as to what’s on offer here and keep AOR and hard rock fans away from it. Yes alumni – you guys should eat this up if you have the time to devote to getting to know the inner workings of the songs.
 
 
Fri
22
Apr

CHRIS OUSEY - Dream Machine (Review)

information persons: 
content: 
90%
Produced By: 
Lars Chriss
Release Date: 
2016
Released: 
Europe
Musical Style: 
Melodic Hard Rock
Label: 
Escape
Artist: 
Score: 
90
Friday, April 22, 2016
Categories: 
Reviews
 
Veteran British vocalist Chris Ousey already has a wealth of impressive material to his name with such acts as Virginia Wolf, Heartland and The Distance.
His debut solo album was a long time coming, but was everything a Chris Ousey fan could possibly wish for, made even better with the production and musical nouse of the great Mike Slamer.
For his anticipated sophomore solo release, there’s no Slamer, but there is drummer/producer Lars Chriss and he has done a very good job maintaining the big punchy sound of the debut.
 
That album was truly outstanding, so I wasn’t expecting as much from this album, but still hoped it would come close. It does.
While the guitar playing and overall production style isn’t as impressive, the sound is still intact and the voice of Ousey makes it all worthwhile.
 
And there are several more absolutely fabulous songs on offer here. A couple of fillers too, but for the most part, this is a high energy, uptempo melodic rock must-have.
 
Opening with the Deep Purple-ish barnstormer This Is The Life, Chris shows he is still the vocalist we’ve loved since the 80s.
Another Runaway is a classically 80s sounding anthem, with a tasteful moody verse before one of the best choruses of the album.
War is possibly the most aggressive track on the album – fast, furious and packing a powerful punch.
Dream Machine continues the fast pace of the album with a funky twist. Not a favourite, but it depends on my mood how much I enjoy it.
Tearing It All Down is yet another fast flowing track with another great chorus. Classic Chris Ousey/Heartland here.
 
The fun continues with Into Your Dream, featuring another strong melodic AOR chorus over a solid groove.
Moment of Madness continues the blistering pace of this album with another great song. A less impactful chorus, but it still does the job.
Gone Long Gone is one track that fails in the chorus department for me; the verse is more impressive as far as vocal melodies.
Better Time to Come kicks the album back into overdrive, with a fast moving melodic rocker featuring another great vocal and chorus.
 
The slower rocking Eager To Please is perhaps another track that doesn’t have the immediate catchiness of other songs.
Return To Me makes up for that with enough melodies for two songs. Another fast and furious rocker.
Flesh On The Bone is a bonus track that wasn’t serviced to media, so I can’t comment on this one.

What strikes me above all else is the quality of Chris Ousey’s vocals. He truly is a wonder and anyone that appreciated Heartland or The Distance needs this album. Fans of the last album might miss Mike Slamer in the same way I am, but the quality of the songs and vocals ensures that the album repeats the ‘must buy’ status of the debut.
 

 

 
Thu
21
Apr

CODA - Coda (Review)

information persons: 
content: 
40%
Produced By: 
Vince O'Regan
Running Time: 
48
Release Date: 
2016
Released: 
UK
Musical Style: 
Hard Rock
Label: 
Z Records
Artist: 
Score: 
40
Categories: 
Reviews
 
Coda is a new British/American outfit, destined to be regarded by the few that hear it, as an opportunity lost. I don’t like to stereotype, after all, with rock n roll anything is possible any time, so you must have an open mind.
That said, seeing the name Vince O’Regan in the production credits brings me out in cold sweat as my ears slowly retract into my head in an act of self-preservation.
 
And while I once worshipped at the altar of all things Sabu, vocalist Paul Sabu has long since passed his best and now resides in a raspy, gravely realm along with several other legends I won’t name here.
Coda also features CJ Curse on bass and Eric Ragno on keyboards plus Andy Pierce on drums.
 
And while I wanted to be proved wrong, sadly I’m not. Coda is another production death statistic O’Regan can add to his long, long list of (dis)credits – Alibi, Pulse, Legion, Eden, Bob Catley and Escape.
Loud and in your face (did I mention loud?) does not make a good production and as expected, this is another huge sonic mess, with bass parts so loud my speakers threatened to walk out; tinny guitars and badly mixed vocals; plus is Eric Ragno even on here? I can hardly hear his keyboard parts beyond a couple of background fills and some organ in Heat On Ice. The mix is that bad.
 
Vocally Paul does his best, but the voice is unrecognizable from the days of Only Child and it's at times painful to listen to.
Song quality isn’t much better. Land Of The Free and Use It Or Lose It are appalling and Den Of Thieves and One Way Love just sound like a mess, almost unlistenable.
Elsewhere most other tracks just blend into each other. There’s little light and shade here. The only track that holds any interest is One Friend To Another.

Not surprisingly, this is a huge mess and will really struggle to sell. Vince O’Regan needs a producer and Z Records needs a winner. Neither appear to be forthcoming and certainly aren’t on display for this debut album. I’ll be surprised if there’s a sequel.
 
 
Fri
18
Mar

CIRCUS MAXIMUS - Havoc (Review)

information persons: 
content: 
93%
Produced By: 
Circus Maximus
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
Progressive Melodic Hard Rock
Label: 
Frontiers
Score: 
93
Friday, March 18, 2016
Categories: 
Reviews
 
On the surface, I’d say that overall, this isn’t as strong as the last album Nine, but there are parts of this release that I favor over everything the band has done before.
 
Havok is a left turn for the guys after their brilliant progressive monster Nine. This time they’ve evolved into something a little more commercial. The album is nowhere near as heavy as last time and there’s an updated more contemporary sound in play, plus more keyboards as well.
 
There’s a few tracks here striving for modern rock radio – there’s a trilogy of tracks almost immediately - the moody Highest Bitter has an almost Shinedown quality to it as does Havok, which throws in vocal effects and a distorted production. Pages rounds it off – modern progressive and heavy down tuned guitar.
I enjoy those tracks in the flow of the album, they fit the narrative, but if I’m honest, the main reason I’m listening to them is from a purist’s point of view, in that I want to hear an album start to finish as the artist intended.
 
What I’m really waiting for are the quite masterful melodic epics that bookend those heavier tracks. These are the band at their creative best - as progressive and epic as ever – but also more complex and hook driven than before. They aren’t heavy in the normal sense, but they sure are powerful.
 
Those tracks include the brilliant opening track The Weight, with its symphonic heart; then the even better Flames, which is really just magnificent. Mellow, yet uptempo, melodic yet challenging. It features a wonderful chorus and some inspired guitar playing and keyboard parts.
Loved Ones comes next and is the first of 3 big epics on the album. It’s a little faster and a little heavier, but still fits the new sound. The chorus has an epic feel as does the extended instrumentation.
After The Fire is darker and more guitar driven, but still dramatic and engaging and at 8 minutes goes by in a flash thanks to several different musical passages.
Remember is one of the melodic songs of 2016 so far for me and is in a word – essential. It builds from a soft start to an epic finish that just blows me away every time. The chorus hook is extreme, even if it takes a while to arrive and the interplay between keyboard/guitar and drums is unbelievable.
Chivalry closes the regular album and does it with class. Another 8 minute plus epic, the song travels a few different paths before a great guitar riff plays out over the last minute or two.

Fabulous stuff again from the guys. They reach new levels of commercial melodic accessibility here as well as turning modern for a few tracks too.
Some like myself will favor one style over the other, but it’s still a great listen start to finish and I dare say it could find the band some new fans.
Overall a different beast to the last album, so I expect some folks won’t rate it quite as highly, but there’s still many highlights to appreciate.
 

 

 
Thu
24
Dec

CWF (Champlin, Williams, Friedstedt) - CWF (Review)

information persons: 
content: 
85%
Produced By: 
CWF
Release Date: 
2015
Released: 
Worldwide
Musical Style: 
AOR / Westcoast
Label: 
AOR Heaven
Artist: 
Score: 
85
Release Year: 
2015
Friday, October 23, 2015
Categories: 
Reviews
 
This is nice little must have for Joseph Williams, Bill Champlin and Peter Friestedt. Peter has of course teamed with Williams before, but most recently the duo became a trio with the addition of Chicago’s Bill Champlin for the Live In Concert release.
This album of all original material is everything the names on the box would suggest.
Fans of Toto’s Seventh One album will love four of the five opening tracks – they are classic Toto AOR with Williams in fine voice.
 
Champlin fans get a taste throughout those songs, but Bill takes lead on Still Around and then again on Nightfly, which is also lush in harmonies and has that strong Toto influence.
Hearts At War is as smooth a ballad as you’ll hear this side of Air Supply’s Greatest Hits.
 
The last three tracks lose it a bit for me, heading out of AOR territory into Westcoast 101 and into a tempo more reserved for those considering their retirement plans.
Still, there’s nothing but class throughout. The 10 tracks are explicably produced and arranged, not to mention the near perfect instrumentation.
 
Some will find the tempo a little slow and mellow and some will find like I did, that the end is just a little too fluffy, but the opening 4-5 songs are just perfect soft AOR.

The new album also includes contributions from Steve Porcaro, Randy Goodrum, Will and Tamara Champlin. This must be a purchase for all card carrying members of the Westcoast Toto fanclub.

 

 
Tue
14
Jul

CHAOS MAGIC Featuring Caterina Nix & Timo Tolkki (Review)

information persons: 
content: 
78%
section name: 
BEST TRACKS
content: 
One Drop Of Blood
A Little Too Late
Passionflow
Point Of No Return
Produced By: 
Timo Tolkki
Release Date: 
July 3
Released: 
Worldwide
Musical Style: 
Symphonic Hard Rock
Label: 
Frontiers
Artist: 
Score: 
78
Release Year: 
2015
Categories: 
Reviews
 
This new project titled Chaos Magic is Timo Tolki’s attempt to create a musical project in the vein of Within Temptation or Nightwish.
Vocalist for this occasion is newcomer Caterina Nix, a lady with a very fine voice indeed. I’m sure we will hear a lot more from her over time. The range is there and the high notes are also there (maybe too many), but not quite carrying the power of her contemporaries.
 
In control is Timo Tolkki, who has written all songs, performs guitar, keyboards, bass and also takes control of recording, producing, mixing and mastering.
A set of outside ears might be helpful for Timo. This is a better production than his Avalon releases, but not to the standard as the recent Allen/Lande or what is needed to break a new act.
Musically there are still some good songs to enjoy – One Drop Of Blood is an obvious stand out; A Little Too Late is instantly catchy; Passionflow is suitably dramatic and the fast paced Point Of No Return is a good conclusion to the debut.

An interesting album. Caterina is a great discovery, but having publicly declared that this project was attempting to sound like Within Temptation, the natural reaction is to immediately compare the two. If you do that, Chaos Magic is going to come up short. But, enjoy it for what it is and fans of female fronted symphonic hard rock should find enough to latch on to.

 
 
Wed
10
Jun

CAIN'S OFFERING - Stormcrow (Review)

information persons: 
Produced By: 
Jani Liimatainen
Running Time: 
57
Release Date: 
2015
Released: 
Worldwide
Musical Style: 
Progressive Melodic Metal
Label: 
Frontiers
Score: 
91
Release Year: 
2015
Friday, May 1, 2015
Categories: 
Reviews
 
The brainchild of Finnish guitarist/songwriter Jani Liimatainen (founding member of one of Finland's biggest music exports Sonata Arctica), Cain’s Offering is an inspired and frenetic slice of fast-paced European Power Metal, symphonic metal and progressive hard rock.
As the musical description should allude to, this album is a full blown rollercoaster ride of over the top guitar and keyboard histrionics with some beautifully melodic and powerful vocals from Stratovarius’ Timo Kotipelto.
 
This is a massive sounding release. The amount going on within the album requires a very deft hand as far as the production goes (handled by Jani and mixed by Matias Kupiainen) – thankfully both guys got it right here.
 
As much as is happening at any given time, it’s all very clear and sonically pleasing.
I really like the contrast of the heavy, manic delivery of the songs against the melodic and anthemic vocals of Timo.
 
Plenty of highlights in this hour long opus; the opening track Stormcrow is majestic in its arrangement and the chorus; The Best Of Times is double kick drum madness, with a strong orchestral chorus; I Will Build A Rome is even faster, but still delivers a great hook; the epic 6 minute orchestral ballad Too Tired To Run is great; I don’t know how anyone can drum as fast as is the case of Constellation Of Tears; My Heart Beats As One is a cool combo of keyboards and guitar while On The Shore is one of the more straight forward numbers here.
 
A must have for prog/symphonic metal fans. Simply put. It’s a huge record with much to enjoy, with exquisite production and performances.
If the style suits – this is going to impress.

 

 
Thu
02
Apr

CARE OF NIGHT - Connected (Review)

information persons: 
content: 
90%
section name: 
BEST TRACKS
Produced By: 
Erik & Anders Wigelius
Running Time: 
49
Release Date: 
2015
Released: 
Europe
Musical Style: 
AOR
Label: 
AOR Heaven
Artist: 
Score: 
90
Thursday, April 2, 2015
Categories: 
Reviews
 
You’ve gotta hand it to the Swedes. No matter how many great albums they throw at us, there’s always more coming up right behind.
The latest purveyors of the fine classic AOR/melodic rock tradition is Care Of Night a group formed out of the demise of heavy rockers Seven Tears.
After a couple of lineup changes the band that would record this debut album was locked in.
 
What we have here is another wonderfully produced slice of Swedish AOR perfection.
Erik & Anders Wigelius (of fellow Swedish AOR favourites Wigelius) are responsible for the slick sound and mix, while the band themselves have written some classy traditional AOR songs with an updated feel so as not to date the music.
 
Vocalist Calle Schönberg has a touch of Peter Cetera in his tone, while the rest of the band simply delivers another lesson in ‘how Sweden does great music’.
Think Wigelius, State Of Salazar, Work Of Art, Houston, FM, the original Heat and you get the picture – happy, easy going pomp/pop AOR with layers of vocals and keyboards in that uptempo feel good style we all love.
The metal roots from a couple of the guys means that there’s some extra punch on occasion here, but the majority is very commercial AOR.
 
The free flowing lushness of Cassandra and Heart Belongs gets the album off to a perfect start. But it doesn’t stop there, with Those Words equally catchy and a big ballad Dividing Lines delivering sentiment in spades, even throwing in some saxophone.
Say A Prayer is impossibly catchy in that Work Of Art style of AOR; Please Remember adds a bit of tempo; Give Me Strength reminds me of British rockers FM and Say You Will is a 7 minute epic to close out the album, featuring a soft acoustic guitar and lead vocal until near the 5 minute mark when the band kicks in for a raucous climax.
 

You got it folks – if you’re a paid up member of the Swedish Ministry Of Melodic Rock – then you know what to do.
Another wonderful example of a genre that refuses to grow old and die.
 
 
Thu
12
Mar

CRAZY LIXX - Crazy Lixx (Review)

information persons: 
content: 
88%
Produced By: 
Danny Rexon & Andy Zata
Running Time: 
47
Release Date: 
2014
Released: 
Worldwide
Musical Style: 
Melodic Hard Rock
Label: 
Frontiers
Artist: 
Score: 
88
Thursday, March 12, 2015
Categories: 
Reviews
 
Crazy Lixx nearly threw away all the good work they’d done with their first two albums with the release of #3, Riot Avenue. The rawer, more restrained direction was a big step backwards after the glorious New Religion and the impressive debut Loud Minority.
Opting for a self-titled moniker, album number 4 thankfully sees the band recapture everything that fans loved about the first two records.
 
This is the logical follow-up to New Religion, we can just forget about Riot Avenue now!
Changing the lineup slightly sees new bassist Jens Sjöholm join and the return of original drummer Joél Cirera.
The energy, the pomp, the big guitars, the screaming vocals and the anthemic songs are all back.
 
Kicking off with the pounding of Hell Raising Women; through the blazing Sound Of The Loud Minority and the passionate pleas of Outlaw; to the commercial hit Girls Of The 80s; Crazy Lixx are back!
The feel good pomp rocker I Missed The Mark has a huge chorus while Call To Action is about as catchy as the band has been able to deliver to date.
Heroes Are Forgiven isn’t far behind and the album finishes on a high with one of the groups fastest rockers yet in Wrecking Ball Crew.
 

Welcome back to the real Crazy Lixx. No hesitation in recommending this to any fan of the first two records and those that love that big, loud, old-school approach with contemporary production to make it slick and modern.
Tags: 
 
Mon
21
Jul

CHICAGO - Now (Review)

information persons: 
section name: 
BOTTOM LINE
content: 
 
The album walks a thin line between uptempo Westcoast pop and sultry jazz-infused ballads, all delivered with the sickly sweet harmony vocals expected from a band with 6 or 7 vocalists at work.
 
Good for fans of the band's earlier incarntions, beyond fluffy for those looking for the more recently used style.
section name: 
SCORE
content: 

 

83%
Produced By: 
Chcago
Release Date: 
2014
Released: 
Worldwide
Musical Style: 
Westcoast/Pop
Label: 
Frontiers Records
Artist: 
Score: 
83
Monday, July 21, 2014
Categories: 
Reviews
Chicago is the second iconic group to have a new release out in the same month of the same year (Yes being the other) from the same label. Much like the Yes album, appeal will squarely lay with longtime established fans over curious newcomers or part-time fans.
 
I count myself as a part-timer when it comes to Chicago. I loved the band’s edgier moments like the last studio album in 2006 (XXX) and the fabulous long kept under wraps Stone Of Sisyphus album, plus their more commercial moments such as the 80s friendly Chicago 16 through 21 albums. Some great AOR material on offer there.
 
When the band revert to their core 70s style, bring out the jazzy Westcoast sound and push their legendary brass section into a more prominent role, I find my finger reaching for the skip button.
Chicago 36, or “Now” as it is dually titled, offers some moments of melodic rock brilliance and some snappy arrangements and impeccable playing without question.
It’s also beautifully produced by the band. But at times it speeds down Pink & Fluffy Boulevard and heads Southbound on the Middle Of The Road Freeway.
 
So be warned those seeking the more guitar driven sound of XXX – this ain’t it!
 
That said, if you like classic Chicago, you aren’t going to get a more authentic experience than “Now”. The jazzy pop material is as catchy as it is breezy and the sound is straight out of 1978.