| Avril Lavigne Under My Skin | BMG |
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Make no mistake - Avril was under a whole world of pressure to come up with another chart topping mega-success, but the girl has made a mockery of her young age with a truly great set of songs that will ensure this album doesn't carry the sophomore jinx. Featuring production and writing help from Rock God Butch Walker and several other high profile names, Avril expands her repertoire with a darker, heavier and moodier album with a lot more attitude and some very personal songs. What's best of all is to see her name alongside the writing credits for each and every track a route so often shunned by other chart topping stars. Her vocal range is tested and expanded successfully and the songs of Under My Skin have hit written all over them. I'm very impressed by her willingness to push the boundaries a little and experiment beyond the frame of the expected hit single format. At times the maturity expressed with the songwriting is nothing short of fantastic. The use of several producers to create this album means the styles are a little different throughout. This can sometimes be rather off-putting to the listener, and while it is evident here, the album has been constructed in the best way possible to minimize this and as a result it flows cohesively. Track By Track: Take Me Away is a classic opening track utilizing all the expected ingredients hard hitting guitars, snarling vocals, a big chorus and the first sign that Avril's voice has matured since her debut. Together is the first surprise of the album. This is a dark and melancholy rocker, with some haunting effects such as Tori Amos style piano and a Kate Bush sense of going right over the top. The chorus is simply massive a huge guitar fuelled vocal that soars over the top of the song and shows what a great vocal talent Avril can be. Don't Tell Me is the single everyone knows. I still love the track to bits and love the emotional vocals and the excellent lyrical theme. A big hand to co-writer and producer Butch, who is all over the track. He Wasn't is a punk fuelled modern pop rocker with attitude. The chorus is punk-pop, but the chorus is as commercial an anthem as one could expect, a la Sk8ter Boi. Expect this to me another massive single. How Does It Feel is a personal favourite. This is a massive ballad, with powerful and emotional vocals far beyond the singer's age. And the right turn the track takes mid-track sends the track right over the top. My Happy Ending is the new single and another Butch Walker co-write. Simply put, it's another hit single and a great example of modern pop/rock. Nobody's Home is a mid-tempo, emotion filled rock track that starts slow and builds to another great chorus. It picks up tempo from there and continues through a series of bridges and choruses. Great track with another powerful lyric. Forgotten has a really dark vibe to it it features a slow, haunting intro, which builds slowly into an angst filled song, with another powerful chorus which reminds me of Alanis Morrisette at her angry best. Who Knows is another massive hit single in the waiting. Watch for this one The chorus is somewhat laid back and reflective, featuring a cool electric/acoustic combination. The chorus is something else though a feel good, anthemic sing along if ever there was one. Fall To Pieces is a good, catchy mid-tempo pop rocker. More simplistic than several other album tracks, but most welcome due to a very catchy chorus. Freak Out is a mid-tempo modern rock track with a heavy, catchy chorus that features a great vocal and an impressive wall of guitars. Slipped Away closes the album perfectly. This is another classy, heartfelt power rock ballad. The track continues to build throughout and is a fitting climax to a great album.
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| Stan Bush Shine | Frontiers Records FRCD192 |
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For his brand new solo album Stan has plugged that electric guitar back in and returned to the very polished melodic rock sound that most fans favor. This is a simple, stripped back rock n roll record with a strong melodic rock/AOR feel that fans of the classic Barrage album will be pleased to hear. This is a back to basics album. Ten tracks - all within the 3 to 5 minute range and all getting to the point in quick time memorable choruses and vocal hooks quick to jump in. The style mixes the AOR of Every Beat Of My Heart with the more mature pop of Language Of The Heart and the guitar driven feel of Heaven. Stan is in top form vocally and the best thing about the album is the clear and crisp production which allows all elements room to breathe. Best of all, every track has a great chorus and additional memorable moments such as extra vocal hooks or great guitar riffs. And the performances are just perfect for the songs. Is it any wonder why? Some of my very favourite musicians are involved, including guitarist Tim Pierce and drummer Kenny Aronoff. The line-up is rounded out with Matt Bisonette on drums and Curt Cuomo on keyboards. Track By Track: Shine is a first rate guitar driven pop rocker with a feel good message. Falling is a slightly heavier and darker rocker, with that classic moody Stan Bush feel. I Will Be There is a bare bones mid-tempo pop rocker with a mellow verse and a more edgy guitar driven chorus. I Turn To You features another great riff and strong vocal. The extended chorus is subtle, but befitting the song. What You Mean Tonight is the first ballad proper of the album. Typical Stan Bush, which is a good thing indeed. Say It Ain't Love returns us again to the simple, but classic melodic rock style of Every Beat Of My Heart. The chorus picks up the pace a little and will please long time fans. Have You Ever Believed continues the stripped back uptempo pop rock vibe. Do It All Over is an album favourite. This is an anthemic uptempo pop/rocker in classic Stan Bush style. The Chance You Take is another Every Beat Of My Heart style AOR anthem and adds to the class of the closing moment of the album. When I Dream closes the album perfectly. Another classic, classy Stan Bush, slow but moody rocker with a great chorus hook.
Another album that cleverly doesn't over do itself and features just enough tracks to make it long enough without any fillers. Easily his best album since Every Beat Of My Heart. Perfect melodic rock/pure AOR.
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| Ten Return To Evermore | Intensity Records |
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It's actually been two years since Ten's last studio album, Far Beyond The World. Being that Gary Hughes is always busy with different projects and last year was consumed with the Once And Future King releases, I didn't think I had missed the band during their time away. But one listen to Return To Evermore and I was reminded of just why I love the band and in fact, how much I had missed hearing new material. Ten have their own unique sound, and Gary Hughes has his own distinct vocal style. The pairing of the two is something that really works and has impressed me since their debut album in 1995. While always retaining their "sound", the band has varied their delivery in recent outings, heading in a heavier, more direct approach with the songs. However Return To Evermore is a return to the band's trademark styles epic rockers mixed with vocally complex, layered AOR anthems and power ballads. This album is a return to the sound of Name Of The Rose and Ten, with a little of The Robe thrown in. And naturally, there are a couple of new twists too, but the end result is another cracking album that will appeal to the band's long time fans and those that adored the layered melodic bliss of the debut. This album also sees the debut of guitarist Chris Francis. He's been on board for a while now and played all over the Once And Future King epics, but this remains his first Ten album. His sharp guitar work insures the band doesn't miss a beat from its past with guitar great Vinny Burns. Before delving into a track by track analysis, there is one thing I did find with this album. It rocks where needed and the ballads are lush, but the mid-tempo AOR tracks are just superb. They are so utterly commercial, it will be hard for anyone to dislike the material on offer here. The album also has a fairly relaxed vibe. The urgency and the more aggressive nature of the last couple of albums isn't here. And I for one like this approach. It's just an enjoyable melodic hard rock record that you can take on face value. Track By Track: The album opens with the 8 minute plus epic Apparition, which is pretty much classic Ten in every way. The slow intro, the building tempo, the flailing drum and guitar parts and a few tempo changes; all bound together by a great melody and a memorable chorus. Oh, and did I mention the big guitar solo? The track moves directly into Dreamtide, thanks to some well placed keyboard fills. A tight guitar riff kicks things along in a fairly relaxed manner before Gary's vocals give the song a direction. Another great chorus features heavily throughout the 6 and a half minute track. Another example of classic early Ten. Evermore is a more intense, uptempo track and gets the groove going with some Celtic style keyboard fills a la Gary Moore. The pace is rocking, the guitars are filling the speakers and I love the chorus. It's a big harmony filled affair that will invoke sing-a-longs whenever played. Sail Away is a magic ballad, no question about it. Typical again of early Ten, this one features strings, piano and a monster chorus that cannot be removed from one's consciousness once heard. An album highlight. Starting with an acapella intro, Temple Of Love could be mistaken for a big rocker about to explode. But surprisingly it's in fact a very commercial, very simple and enjoyable pop rocker. The album is quite varied throughout and this is just another example. Even The Ghosts Cry is another album gem. Again the intro hints at something different, with a guitar solo issuing in the song, which then appears in a burst of pure AOR melody. This is classic AOR, with layered vocals, prime keyboards throughout, a hugely melodic guitar riff (and killer solo), and best of all, a monster chorus that is as catchy as anything released this year. Strangers In The Night continues the moody AOR passage of the middle of the album. This is a lower, slightly darker rock track with another strong chorus, all played down a little bit after the over the top nature of the preceding track. Evil's On Top Of The World sounds heavy, and although it features a strong guitar riff, it's actually equally driven by acoustic guitars and keyboards. Another prominent chorus, but not my personal favourite of the album. The One is another uptempo rocker with a strong keyboard fill and a more urgent, intense feel. Another good chorus makes the track, which is perfectly placed within the album. Lost Soul is a very enjoyable, good fun uptempo rocker with another memorable chorus and some great lead and rhythm guitar work. Stay A While is an acoustic ballad which turns heavier and darker. It flows quite nicely and is more reminiscent of recent heavier Ten tracks. The album closes with something a little different. Tearing My Heart Out is easily the band's most modern sounding track ever, with a revised, aggressive guitar tone driving the song. The structure is slightly different and the chorus is certainly something new. I'm impressed to hear such a change of approach and enjoy this song, but at the same time, I'm glad the whole album is not in such a vein.
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Voodoo Hill Wild Seed Of Mother Earth |
Frontiers Records FRCD191 |
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Heavier, darker and bordering on metal on occasions, this really sees guitarist/writer Dario Mollo deliver something a little different. On hand is vocalist Glenn Hughes who as per usual sings his heart out. This is something a little different for him also though. This is a heavier tone and style than his usual bluesy hard rock delivery. He handles it with ease of course, but the material is definitely more challenging. I'm really enjoying hear him sing something different. Make Believe is a great opener and not far from what we are familiar with, but it's Dying To Live that sends things over the top. Gruff, urgent and darker vocals really add an edge to this already heavy, chunky guitar driven song. If you don't concentrate on what's on offer this could almost sound a little loud and overbearing. At times I though it was just a little noisy, with so much going on within each song. But on further investigation things fell into place and my admiration for the album grew. The album features some in your face, furious rockers such as Still Evergreen and Make Believe alongside darker and more intense tracks like Atmosphere and Can't Stop Falling (which features a highly original mid-song interlude). In addition to those, there are a few unexpected twists such as the sparse, but intense Wild Seed Of Mother Earth and the relatively easy going My Eyes Don't See It and the haunting softer closing track 16 Guns.
It's heavier, more complex and more original then the debut and sees Glenn Hughes challenged vocally. This features some of the heaviest material of his career. At times everything does sound a little bit too much, but repeated listens helps the album evolve.
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Glen Burtnik Welcome To Hollywood |
Atenzia Records |
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Glen Burtnik is one of the original AOR Gods. His first two albums Talking In Code and Heroes And Zeroes set benchmarks for others to imitate and to this day are held in the highest regard. His other solo ventures have been a little more laid back and acoustic driven, which saw a continuation in the admiration and respect for his songwriting abilities, but those first two albums remain the favourites of the melodic community. Glen has spent the last few years in Styx, touring and featuring on their last studio album Cyclorama, not to mention his first stint with the band, on the Edge Of The Century album. In between solo albums and Styx duties, Glen has always written and recorded demos and there remains a wealth of unreleased material locked in vaults, not to mention quite a number of tracks being traded around the demo circuit. Over the past 12 months or so, Glen has been busy recording his first solo album since 1996's Palookaville. Glen promised two things for this record to update his sound and to make a rock record. He has kept his promise, as this record rocks, but in a seriously updated way, with a definite modern rock vibe in place. However, Glen hasn't forsaken melody this album harks back to his very best melodic out put on Talking In Code and Heroes And Zeroes just with an updated feel. Basically, this is Glen's best album since those two early records no doubt about it. In fact, this is truly a work of art. You know how some albums rock solidly great, but very straightforward? This album feels and flows like a work of art. There are intro's, outro's, interludes between tracks and extended musical plays that entwine tracks together. It's an album that sets you out on a great voyage. The production and sound quality is second to none. It sounds a million bucks and the added sound effects and musical layers over the basic tracks really gives the listener something to appreciate. This is a record that requires multiple listens in order to get to know and with each listen, something new is revealed. I love records like this. But there are a couple of small criticisms which take a little away from the end result. The record is seemingly split into two halves, with the more straight ahead melodic rock and traditional Glen tracks ending with track 10, Cry. The last few tracks are when Glen takes on his artistic license and experiments a little sometimes it works, but on a couple of occasions I think melodic fans will decide it doesn't. As I said, Glen has updated his sound and seriously rocks. The hard hitting guitars sound fabulous and the updated effects feel quite at home with the new sound. But there are a couple of occasions where Glen breaks into a rap-vocal, one time detracting from an otherwise very melodic and passionate song The Muse. The main offender is the aggressive alternative rocker When The Shit Hits The Fan, which to be honest I have no time for at all. It's only 2.42 long, but I don't feel that it has any place on this album. Glen has one of the genre's great voices and disguising it in vocal effects and spoken rap vocals is just wasting God given talent. The other small issue I have is the origins of the songs themselves. It's been some 8 years since Glen's last full studio album, yet there are a few songs here that are from Glen's songwriting archive some of which have been well traded by Glen fanatics and therefore will already be known to some. Tracks like Roses, Another and Super Boy are not new and then there's Glen's own solo version of the track he wrote for Styx - Kiss Your Ass Goodbye. That's 4 tracks some fans might already be familiar with. It's a minor point, but when die hard Burtnik fans such as myself are craving as many new songs as possible, it is a little disappointing. Track By Track: Super Boy is a slow to start guitar driven rocker with a big fat bass/rhythm sound and several production effects featured to build tension. An acoustic verse features more effects, which suit the track. Come chorus time the song explodes from the speakers after a vocally melodic bridge. A strong start to the album and a song that places the new Glen Burtink stamp firmly on the record as a whole. The 101 is a brief segway into the title track Welcome To Hollywood, which quite simply is a new Burtnik classic. This is a brilliant lyric, cleverly arranged and powerfully executed within the song, with a huge guitar fuelled chorus and some classic lead vocals. Another is another' Burtnik classic. Again slow to start, this mid-tempo pop/rock track feature some of Glen's best singing, with his vocal acrobatics providing the hook and bridge leading into the chorus, which is a truly memorable song in the best tradition of Glen's work a la Heroes And Zeroes and the tracks of Retrospectacle. BAM! is a sultry mid-tempo rock track. Solid, but not an album favourite, it features some unusual textures and a few additional production effects. A modern pop song is my best description. Kiss Your Ass Goodbye is a classic rocker, I just love this tune. I also like this version better than the Styx track, only because it has even more Glen in it. But there really isn't much difference from the original this is a very faithful rendition. Heart In A 3 is a great chance of pace, without letting the tempo of the album fall. This is a moody mid-tempo rocker, with some more outstanding vocals from Glen. This is another traditional Glen track that has been updated and modernized. Intermission is exactly as it says a 1 minute cooling off before the best track of the album bursts through the speakers. Roses (formerly known as Roses For The Working Girl) is a flat out, feel good rocker with all the trademark hooks and melodies required of a classic Burtnik track. This new version has been seriously updated from the original demo, with more guitars, more vocals and a faster tempo added. Cry signals a change of pace and the end of the first half of the album. This is a soft, slowly moving and very passionate songwriter ballad. When The Shit Hits The Fan is that track mentioned before! A heavy, alternative, effects filled rap-rock song. Next Spiritual War runs just over 1 minute in length. It continues the aggressive stance of the last track, with a brief vocal over a sharp guitar riff. Flash Before Your Eyes continues the arthouse portion of the album. This 2 minute track summarizes the tracks that have come before it, with lyrics and melodies of previous tracks woven into its complex new age vibe. All That's Yet To Come is a little gem for long time fans. This is a sparse track featuring only Glen's vocal with no accompaniment. It's a haunting and passionate vocal that really appeals to me, which leads directly into the Celtic influenced modern pop of The Muse. This is another gem of a track, featuring more passionate vocals over a wildly different track compared to anything from Glen's past. I remain disappointed he breaks into a rap-vocal, but it's a unique song that deserves credit. Muse (Slight Return) is another out there example of the wild ride this album takes you on it's a 1 minute uptempo pop track featuring a Gospel choir. Yes, seriously!
I don't think every track works, but credit given, this album is a true work of art and the production is fabulous. Effects, fills, segways and cleverly placed tempo changes make for a really interesting listen and there is some satisfaction in purchasing an album that has had so much effort put into it. Not Glen's best album ever, but his best since the early days and those first two classic releases. Now, let's not have a six year gap until the next record!
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| SR-71 Here We Go Again | Nippon Crown Japan CRCL-4585 |
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A new line-up, a new label, old attitude. The band has returned to the punk/pop nu-breed attitude of their much loved debut and for the most part, dropped the more aggressive, heavier edge of the follow-up Tomorrow. Not that there was anything overly wrong with the sound of that album but the songs were just not strong enough. Principle songwriter and frontman Mitch Allen has truly redeemed himself this time around, with a great collection of modern rock tunes that ooze class, melody and hooks. SR-71 were the poster boys of the nu-breed movement after their classic debut, with this album destined to put them back on the map. The band is different now, being that the line-up of the debut is all but gone, but the vibe remains intact. This is expertly produced, uptempo power pop mixed with a punky attitude, modern rock feel and plenty of melodies. Most fans will be familiar with the already released Axl Rose, which is a definite indication of the album's vibe. There are the lighter, tongue in cheek rockers like Rose, 1985 (classic lyrics), Here We Go Again and 15 Minute Idol (featuring John Allen on vocals) which pump the album along at a fine pace. Then there are the darker, moodier and more intense numbers like All American, Everything and best of all - In Your Eyes, which is without doubt one of my picks for song of the year 2004. It's certainly the best nu-breed rocker I've heard in a long time and its melancholy darkness just sucks me in. It's just a great listen and a great collection of songs - aside from the tongue in cheek country twang of the hidden track. I could do without that! A special mention goes out to Mitch Allen for some truly great satirical lyrics.
Fans of the band should not be disappointed I'll wager that the vast majority will find this a far superior album to that of Tomorrow and it will certainly give the debut a run for its money. Overall it's a little darker and certainly heavier than Now You See Inside, but easier going than the sonic attack of Tomorrow. Basically it fits somewhere in between, featuring some very catchy and rocking tunes.
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| Velvet Revolver Contraband | RCA Records 59794 |
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No-one is going to make me love this album. It just doesn't do anything for me at all. I don't think it will be rated a classic, but I could be wrong! There will be a great number of people that will enjoy this album and it will certainly find a range of new fans. This is a good honest modern rock album, of which Slash is clearly the star of the show. But I don't think it has the charisma, or lasting abilities that Guns N Roses or Stone Temple Pilots had. I'm a huge GNR fan and was hoping that this would be a partial return to the glory days of the band. I'm realistic enough to realize it's never going to be a carbon copy of GNR, but my expectations pretty much went out the window when I heard Weiland had been hired as the vocalist. That move was a clear indication this would be a modern rock project and that's exactly what it is. But, I believe it could have been much better. I think the biggest problem is vocalist Scott Weiland. I don't like his vocals to say the least and I'm not overly excited by the musical content. It's produced to perfection and all involved play their hearts out, but I'm still not sold on it. It's like the Brides Of Destruction album all over again. I knew the albums would go head to head this year, but I am surprised that I feel almost the same way about both. Before anyone reminds me it isn't 1988 anymore, let me remind you that I think there are plenty of killer modern rock albums available that feature strong, authorative vocals and memorable song hooks. There were some reports the album featured no guitar solos not true, there are a few fine solos on Contraband. My views are mainly due to the style of the songs and the vocals behind them. This is no frills, in your face, aggressive modern rock.
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| Stage Dolls Get A Life | Musicbusiness N 50002-2 |
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Stage Dolls have more in common with Def Leppard than just their breezy high-tech pop/rock style. Twenty years together, there have only been 5 studio albums previous to this, not to mention frontman Torstein's solo album. Each album is therefore met with much fanfare and applause and this album is no different. Once the band got to work in January, it was written and recorded in fairly quick time. Great for fans and even better that the album sounds like it has benefited from several more months of work, being that it features such a big sound. This is classic Stage Dolls and classic AOR. For fans of breezy, feel good melodic rock with that big punchy high-tech feel such as artists like Bryan Adams and Def Leppard, it just doesn't get much better than this. The songs are perfect and as simple as they are, the production feel and the band's delivery of them gives the whole album a much bigger feel. In all honesty, this could be the band's best ever album. Dig was fantastic, but a little more laid back, Stripped was classic, but featured a few fillers and the self titled Stage Dolls was a little short at only 9 tracks. The album opens with the anthemic rocker 24/7, and then cruses right into what is one of 2004's best songs Running Back To You. Song writers take note this simple, moody AOR ballad has it all. The album continues to grow with the uptempo pop rocker Get A Life, which features a perfect Def Leppard style guitar riff and anthem chorus. Someone Like You is a great sentimental ballad and You're The One is another perfect feel good rocker (even though it has already been featured on the recent Good Times compilation). There isn't a dud track on the album every track is a winner for fans of pure, classic AOR and high-tech melodic rock. But most notable is the brilliant mid-tempo moody pop rock of Naked In The Rain, the heavier Def Leppard of Everybody Wanna R&R and the perfect melodies of Only.
A big production sound and the band's commitment to strong material means that the band are classic and contemporary at the same time. Essential for fans of the lost art of big budget pop rock.
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| Pete Lesperance Down In It | Marquee/Avalon Japan |
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Harem Scarem's other mainman Pete Lesperance guitarist, co-writer and co-producer - has stepped outside the Harem name on many occasions, but never for his own benefit. Finally now, his debut solo album has been created and released sadly only to a Japanese audience thus far. Pete's solo style isn't a surprise, nor is the quality of the album. Neither Pete or Harry have ever disappointed, and this is no exception. As expected, this is a hybrid of the more recent Harem Scarem production style and the modern pop sound of the two Rubber albums, plus the feel of Harry's own solo album. Mix a little classic modern pop/melodic rock with the fabled nu-breed musical description and add a dozen high class songs and you get an album that is essential for fans of the style and of Harem Scarem in general. Pete's singing was previewed on each of the two Rubber albums, but he really comes into his own here, his voice perfectly crafted to fit the tone and style of the moody, modern melodic pop/rock on offer. You won't find better examples of perfectly crafted pop as the opening track Scars and the essential title track Down In It. The album is dominated by Pete's well known guitar sound, and the trademark Harem rhythm section of Barry Donaghy (b/vo) and Creighton Doane (ds/vo), but there are moments where the plot changes. Boy Without A Clue is a heavier, more aggressive rocker, Say You Will is perfect modern pop with a monster BBMak style hook, and Where U Want Me is as close to Harem as you could imagine. The album closes with the obligatory instrumental, a trademark of Pete's.
The modern pop/rock style of this will dictate that not all Harem fans will enjoy the ride, but if you own and enjoy the Rubber albums, this is every bit as good, if not even better than those. Style aside, the production is perfect and there isn't one filler track amongst the lot.
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London Calling You're So Lucky |
Atenzia Records |
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Two very fine nu-breed styled rock albums are reviewed this week. While SR-71 are returning to their roots, London Calling are releasing their debut, which should see the band really capture the attention of modern melodic rock fans. The voice behind the band is former Guardian and Adriangale frontman Jamie Rowe. This is where his heart truly lies in 2004 and therefore his efforts are concentrated on making this band work. Don't expect Jamie's vocals to match those of the past. There are elements for sure, but this is more along the lines of SR-71, 40ft Ringo and Mars Electric. There is nothing worse than a modern rock outfit with a lame vocalist, so Jamie's powerful vocals are part of the reason why this album is so satisfying. The other reason is the great songwriting. Naturally a love of all things nu-breed and punk/pop is needed to appreciate what's on offer here, but that given, the songs are very strong indeed. Melodies throughout, catchy hooks and some very fine choruses indeed. The opening track is a great example of what's on offer, but look no further than Beautiful Day for a glimpse of pure anthemic pop genius. The chorus is just such a winner and the vibe isn't far from classic melodic rock. New Sensation has a strong feel good groove, So In Love is a moody ballad with a 70's vibe, Misfit Song is a great breezy softer sounding pop song and Song About Nothing is pure Blink 182.
Another recommended album for fans of nu-breed and modern pop and certainly another highlight in Jamie Rowe's career.
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| Scorpions Unbreakable | Sanctuary Records USA / Phantom Europe |
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The Scorpions have returned with an album that will largely impress those eagerly awaiting a return to the band's melodic rock best. The guys had a lot of work to do to impress this time around, or risk becoming totally irrelevant. Their last couple of albums haven't benefited from experiment, and the last Eye To Eye, was utterly horrendous. This is not a total classic, but it is a very solid collection of rocking tunes that retains an updated feel especially with the guitar sound, but is based more upon their classic melodic sound and song structure. It takes a few listens to get into, but it's most definitely a melodic hard rock album. And that in a nutshell, is why fans will be impressed. The album features a varied range of tracks, which work together well. There's the darker, modern rock of the opening tune New Generation, the more classic uptempo hard rock of Love Em Or Leave Em, Borderline and Blood Too Hot, the moody mid-tempo melodic rocker Deep And Dark, and the classy big piano ballad Maybe I Maybe You. The album closes with an aggressive rocker Remember the Good Times which is something a little different again. The strength of the songs is what fuels this album. Completely the opposite to the absolute lack of inspiration behind Eye To Eye.
What's on offer here is an updated classic Scorpions styled hard rock album.
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Kee Marcello Melon Demon Divine |
Frontiers Records FRCD 194 |
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Swedish guitar hero Kee Marcello is best known for his part in three Europe albums as well as a stint with the mid-80's band Easy Action (which also featured vocalist Zinny Zan on the debut album) and later in Red Fun. But he has also recorded a previous solo album 1995's Shine On. Some 8 years later a new album is ready for release - the intriguingly titled Melon Demon Divine. While Shine On was a fairly laid back and sometimes acoustic driven record, MDD is anything but. This is a heavy rock monster, which sees Kee plugged in, turned on and cranked loud. And what is really interesting about this record is the sound. Kee has clearly realized that it is 2003 and not 1983 and has updated the sound, the tone and the songwriting process to accommodate a more modern rock feel, which suits this album down to the ground. What holds it all together apart from some inspired guitar playing and solid vocals is quality songwriting without forgetting memorable hooks and melodies. True that some of the tracks require several listens before the melodies become more familiar, but I find that in most cases, when that happens, the album's lifespan on my playlist is considerably longer and those that are instantly gratifying then instantly forgettable. Track By Track: Pre-Fix is a simple mood introducing intro. It runs smack into the pounding heavy rock of E.M.D. Everyone Must Die. This is a super heavy rocker, with tuned down guitars and a really dark feel to it. Kee's singing to the limit of his range, with a smacking drum sound adding impact. But within the heaviness is a simple, but great chorus that is equally heavy and changes the tact of the song - featuring a great melodic vocal. Enemies is just as heavy, but not quite as frantic, nor as dark. The guitar tone is still very deep and the song's verse is quite modern in its feel. A slight rap-vocal leads to a big guitar riff and vocal bridge that leads to the heavy melodic rock chorus, which is instantly memorable. The song has a couple of different personalities that mould perfectly together. Very intelligent songwriting which keeps the listening intrigued and wanting more. Blood starts off very tentatively. A subtle guitar riff and soft vocal moody verse lead into a chorus which crashes through the speakers. Heavy again, but the most melodic of the three songs so far. Epic kicks off with an acoustic guitar for the first time. The track sounds like a Goo Goo Dolls style mid-tempo pop/rock ballad. This track is modern rock friendly, with a chorus that is pure commercial heaven. Layers of vocals and a great hook make it a special feel good track that would be at home on modern rock radio anywhere. Raptor starts with a dramatic flair and dives into the heaviest riff of the album thus far. The super heavy guitar riff is tuned down to the darkest possible tone, with the song remaining that way, even right through the brief chorus. No big hooks in this one, but a great mood changer to the album as it is so far. If is a little experimental, playing around with varied riffs and no real verse structure. However, the chorus surprises me for being far more catchy within a song that really otherwise wouldn't be! Another example of the interesting song structures featured on the album. Falling Apart isn't one of the better tracks on the album, but the chorus remains catchy and memorable. Hey Romeo is a killer track. Something more traditionally melodic was needed about now and this track delivers that and more. This is a classic sounding melodic rocker, with a huge anthem chorus and more killer guitar riffs. The song gets bigger as it goes and features a great solo. Evil Ways is back to the super heavy and dark ways of the album's early tracks. This track is a little faster pace then others and rocks along at a great pace and features some frantic drum/guitar rhythms. But not only that, it features a killer chorus. Tattoo For Patto is another change of pace. This is a mid-tempo bluesy bar room rocker that features another strong hook and original vibe. Comin' Home returns to the dark heavy guitar vibe of the opening few tracks, with a more laid back ballad-esque verse that builds to a big anthem chorus that features a great hook and some pounding drum/guitar riffs. Ride On is an epic, uptempo heavy rocker that features a more classic heavy rock sound. Another enjoyable track. Added to the Frontiers European release are two bonus tracks not featured on the promo copy. They are: The instrumental version of Raptor, from the soundtrack of the US motion picture Blood Shot, and Can I Be The One co-written with tennis star Niklas Kroon, the Tennis Masters Cup official theme song, are bonus tracks exclusive on the European version of the CD.
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| Razorback Animal Anger | Massacre Records |
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Razorback features quite an established line-up of names. Rolf Munkes and Chris Heun on guitars, Marcus Bielenberg bass and Pierre Fienhold drums. Best of all, the sometimes under-appreciated voice of Snakes In Paradise frontman Stefan Berggren on vocals. Stefan has one of those voices which is perfect for either AOR, melodic or hard rock. In this case, its hard rock and easily the heaviest material he has sung on. This is prime European style hard rock, featuring a great heavy dual guitar attack and pounding rhythm section. What I really like is the fact not every song is pedal to the metal. The pace is varied and the songs allow Stefan to really sing to the best of his abilities, rather than just howl over the top. I swear at time I thought I was listening to classic Ronnie James Dio and at other times a bit of Iron Maiden. This is heavy stuff in places so much more so than the lightweight Snakes In Paradise, but every bit as classy. Each track has something to offer come chorus time it gives the listener something to hang on to along with the guitar riff and the addition of some harmony vocals really creates an inviting atmosphere. The band covers the classic Snakes In Paradise mood-rocker Fire And Rain, done true to form here, only heavier. The rest is all original material.
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| Helix Rockin' In My Outer Space | Indie/Online |
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I'm still not sure what the actual line-up of this Helix album is, aside from vocalist Brian Vollmer that is. I'm thinking it might just be him actually, as the sound of this album does not resemble classic Helix in any way rather it mirrors Vollmer's own solo projects from the last few years. [Line-up since aded] That issue aside, I find that the use of the Helix name packaging these songs together is a blight on the classic Canadian hard rock outfit. The guys released a couple of patchy albums before going their own ways in the early 90's, but in the mid-late 80's, they were on fire, delivering 2 or 3 really classic melodic metal albums. This is nowhere close. It's rough, it's raw, it's badly produced and poorly mixed and the vocals are as gruff as could possibly be imagined. I don't find any of the songs catchy enough to comment on, and the performances are all over the place or badly mixed at any rate.
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