We've listed albums in order of star rating. Best first.
FIGHT
LIKE APES Fight Like Apes & The Mystery Of The Golden Medallion (Model
Citizen Records)
Brash, obnoxious and
energetic and fun...probably the best words I would use to describe Irish
quartet, Fight Like Apes. Fight Like Apes don't worry about fitting any genres
or stereotypes, they take the rule book, soak it in petrol, set fire to it and
then throw it through the window before opening it!
Opening
track 'Something Global' sets out the stall straight away, a huge sound full of
anger. Upbeat and bassy it's a good start.
'Jake Summers' sounds like
your average 'American Pie' style teen movie soundtrack, that is before the
chorus kicks in and you realise poor old Jake takes one hell of a beating.
'Tie Me
Up With Jackets' sings of lovely noise. That's a pretty good way to describe
this lot.
'Digifucker'
and 'Lend Me Your Face' give lead singer MayKay a perfect opportunity to scream
her heart out about dismantling people, but in a fun way of course.
'I'm Beginning To Think
You Prefer 90210 To Me' is another gloriously named catchy energy filled song,
with great lines...I haven't heard the term 'suplex backbreaker' since I was a
kid watching Hulk Hogan.
If you
like your music catchy, fun filled and packed full of attitude, then you should
make a point of checking out these bunch of misfits and their own unique brand
of amplified angst! ****
Review by Darren Coomber
SLOMBER Dirty Drinks &
One-Night Stands (Naked Hollywood Records)
Mixing the energy of early Guns N Roses, the rawness and power of Motorhead and
The Stooges with a healthy slice of Scandinavian sleaze rock attitude, Norwegian
band Slomber are about to release debut album 'Dirty Drinks & One Night Stands'.
This
album could have been released any time from the late '70's onward as the band's
sound has managed to capture an almost timeless feel, with guitars that slice
through the current crop of alternative rock bands and even the odd drum solo.
The tight rhythm section and use of 2 guitarists gives the band a big sound,
which vocalist Billy McBarbie takes full advantage of.
The problem that some of the more recent sleaze rock bands have had is that some
of the songs have an almost cringe factor to them, this is not the case with
'Dirty Drinks & One-Night Stands' - the songs are consistently well written and
deliver punch after punch.
Highlights amongst the 10 tracks on the album include 'XXX.Cum', 'Highway Of
Love & Hate' with it's undertones of Hanoi Rocks, 'Livin' In The Gutter', 'No
Ones' Fool'- which has an almost Dogs D'Amour meets The Almighty feel to it, and
the raucous 'Slut The F**K Up'.
If you like hard edged, sleazy Rock N Roll then 'Dirty Drinks & One-Night
Stands' is an album that you should definitely investigate further.
****
Review by Nikk Gunns
FALLING RED Shake The
Faith
www.myspace.com/fallingredband
Debut album from this four
piece and it is instantaneous in-your-face rock 'n' roll metal.
The opening track is high paced 70s punk meets 80s Sunset Strip. As sleazy as
Motley Crue and Guns'n'Roses but a whole lot more ferroceous. In fact G'n'R
sound more like Buns'n'Toasties compared to this.
There's a touch of mid 80s Iron Maiden in the second track, and a nod to AC/DC
later on.
Yes the main influence is sleazy hair metal but there's more than enough raw
energy and a nod to trad metal to make it more powerful, heavier and infinitely
more enjoyable.
Really one to look out for. ****
Review by Joe Geesin
KEVIN LEE & THE KINGS
Dusk Till Dawn
www.kevinleeonline.com
A six
song CD from a US based modern pop rocker and there are three superb songs on
here.
'The Other Side' is
bright, breezy pop rock with a massive chorus (shades of the much missed Square
One), whilst 'I Still Believe' and 'Invisible' contain plenty of big harmony
vocals. You can see why the latter has been selected for radio airplay as it is
a perfect ballad for daytime radio.
Only
'Slip Away' sounds out of place as it lacks any killer chorus. Luckily the
acoustic led 'Time Won't Stand Still' ends the album off in style.
For lovers of quality modern day pop rock this mini-album will be right up your
street. ****
Review by Jason Ritchie
DEAD
HEROES CLUB A Time Of Shadows (Prog Rock Records)
Modern prog rock with classic prog influences and, if the lengthy opening track
is anything to go by, an acoustic feel.
The guitars mix electric and acoustic, but the main rhythm is acoustic, with the
strongest nod going to early Marillion. While there’s touches of Genesis, King
Crimson, Tull, Yes & Floyd, the melodies and rhythms nod most to Marillion. Even
the vocals mix Gabriel and Fish.
The opening two tracks 'Theatre Of The Absurd' and 'Stranger In The Looking
Glass' both run just short of 10 minutes apiece, and the heavier electric
moments feature some strong moody keyboards alongside the guitar.
'The Centre Cannot Hold' (one of only 2 tracks running under 5 minutes) is more
of a rocker, it could be Hawkwind at their heavier end.
A good feel, nice vibe, modern prog fans should enjoy the retro feel.
***½
Review by Joe Geesin
KENNI
DeNILE Dreamer
www.kennidenile.com
A seven
track self-produced album that reminded me a lot of Tyketto, as DeNile has a
touch of Danny Vaughn in his vocals especially on a ballad like 'Indigo' (this
also brought to mind Bon Jovi in their heyday).
The title
track is good slab of catchy hard rock and 'My Life' has a chorus that nags away
at you until you succomb to its charms! The sound is very good for a
self-produced and financed effort. Certainly a name to keep an eye out for in
the future. ***½
Review by Jason Ritchie
MOONSHOT No Sign Of
Morning (EML Recordings)
Electronic duo Moonshot release a soberingly gritty slice of trip-hop. In a
poorly lit sub-terranean carpark, a loner is slowly going out of his mind...'No
Sign Of Morning' would undoubtedly be the soundtrack.
The first
couple of tracks, 'No Sign Of Morning' & 'Gifted' are perhaps the most obviously
trip-hop based efforts, conjuring images of the grand-daddies of this genre,
Massive Attack.
'Black Box' & 'Purple
Lipstick Mark' are very different animals. Pet Shop Boy style vocals, echo over
dark beats and sinister keys. The 2009 single 'Who Turned The Lights Out?' is
the stand out track on the album and doffs its cap to 'The Wall' era Floyd.
Eerie industrial Britain viewed from afar.
Elsewhere
on the album 'Midnight In Dover' has a more 80's based feel whilst 'Point Of
Focus' is a altogether gloomy affair. 'The Restraint Of Mary Anne Nichols' is
written from the vantage point of one of Jack the Rippers victims. You've
probably already guessed this isn't the most upbeat number you'll ever hear.
'This Is
England' is a modern day story of life in England, ragaling us with tales of
queues, weather based small talk and tea! This album is dark, melancholy and at
times thought provoking.***
Review by Darren
Coomber
CHINAWHITE Challenges
(Rock Company)
Norwegian band Chinawhite have been together since 1989 and are about to release
new album 'Challenges'. Part melodic rock, part progressive and even combining
symphonic elements to some of the tracks, this album is not bad- although
slightly lacking in originality. This may stem from the fact that the band's
live set includes a number of covers, or it may just be that Chinawhite want to
pay homage to their influences (Rush, Kansas, Journey etc) - either way, the
songs are catchy and the band works well together.
The band make good use of Hammond B3 sound, this gives a good '70's rock feel -
the best example of this being 'Better Than You'. There are also a number of
tracks that come in at over 7 and a half minutes long- the best of these being
'My Venus Rising'. Other highlights include 'Stranger', 'I Am I' and 'Dive With
A Dolphin'.
If you like any of the bands mentioned above, then 'Challenges' should appeal to
you. It would be interesting to see the band play live as these songs will no
doubt hold their own against the more well known numbers in the band's
repertoire. ***
Review by
Nikk Gunns
ROBIN BROCK Monsters
This is her third album and on her previous two albums she has worked with
musicians including Tim Pierce, Jeff Pilson and James Kottak.
This new album is a mixed
bag ranging from some good solid rockers like the title track and 'New
Addiction' (like Pat Benatar at her rockiest) through to some real clunkers such
as the awful modern rock on 'Power It Through'.
In fact the final half of
the album is very poor compared to the first five songs and maybe an EP would
have been better. Robin Brock has a good, strong vocal style and she could quite
easily front a metal band such is her vocal range and power. It's just a shame
that some of the songs aren't as good as her vocals. ***
Review by Jason Ritchie
TITAN Steps www.myspace.com/titantheband
With a name like Titan you
maybe expecting a power metal band but not this band, who are a very young
(average age eighteen) melodic rock/AOR band.
Of the six songs on offer
here nothing is earth shattering apart from the keyboard drenched 'Steps' which
would put many an established band to shame.
Vocalist Gustav Larsson
has a soothing yet high vocal range with 'Top Of Your World' the other pick of
the songs on here. The band certainly show promise and definitely have youth on
their side making them a name to watch out for. ***
Review by Jason Ritchie
MARTY FRIEDMAN Tokyo
Jukebox (Mascot Records)
The long time Megadeth guitarist now resides in Japan, hosts TV shows, gives
guitar tuition, and also releases this new solo album.
With guest drummers, programming and the odd keyboardist / bassist, it's fairly
typical of a solo album released on Mascot: instrumental, lots of solos, and the
odd nod to fusion playing.
The music mixes thrash
guitar with avant garde and fusion, it's very noodly in places. Outside the
solos, the guitar also mixes noise and riffs, and at times the melody is rather
good. Some trad metal comes in at times, and “Story” is quite melodic and
mainstream. Elsewhere it does get a bit noisy.
A solo album in the true sense, meaning that Marty tries to do too much himself.
Sometimes it works, sometimes it doesn't, and occasionally comes over as
disjointed. When he shines he's clearly very talented, but sadly it isn't smooth
flowing all the way through.
One, then, for guitar heads and ‘Deth fans. ***
Review by Joe Geesin
MARTI Better Mistakes:
An 11 song Cinematic Affair
(FOD CD6)
From the brief dramatic horn led intro onwards, Italian band Marti’s ‘Better
Mistakes’ is an album crammed full of cool intent, style and drama. And with a
handful of angst ridden love songs, expansive cinemascope arrangements and
plenty of passion, there’s almost enough here for their style to be considered
‘tongue in cheek’ art rock or perhaps more accurately lounge music.
But unlike say the camp
torch songs of Marc Almond, all the dramatic moments are delivered dead pan.
Moreover, main man Andrea Bruschi doesn’t have the vocal range to make the most
of a handful of decent songs such as ‘The Girl That Turns Off Street Lamps’.
On the romantic ballad
‘The Price We Pay’ he sets out to emulate the likes of Tony Hadley but fails,
while on the eye wateringly titled ‘In Flagrante Delicto’ he struggles with his
phrasing. Apparently the album is subtitled ‘An 11 Song Cinematic Affair’ with
the mission statement ‘to make each song evolve and develop like a short movie’.
And it’s true to say that
a mix of orchestral arrangements, poignant strings and eloquent piano lines
offer suitable building blocks for a well intentioned project. But too often
Andrea’s vocals stand on the precipice of a kitsch ‘Frankie Goes to Hollywood’
style outing, while on ‘The Return of the Dishwasher’ it’s the trite lyrics that
let the song down.
The avowed aim of the
album is a clever one, but a melange of late night moods and jazzy arguments
require a front man with a clear understanding of his short comings.
Bowie isn’t a great singer
but he knows how to phrase while Ferry similarly masks his thin vocal style with
an ability to croon and emote.
Things get better on ‘10
Long Years’ when only a slightly forced vocal stops Andrea from reaching his
goal while the late night cool of ‘Havana Bride’ is a notable minor triumph.
But then the title track’s
opening narrative rap doesn’t quite cut it and the funky guitar and stabbed
piano notes are the stuff of a long forgotten 70’s film soundtrack.
Given the popularity of
‘Euro Pop’ perhaps Marti might strike a chord on mainland Europe. But given that
things only really come together on the piano led groove and mariachi trumpets
of ‘No Stains’ and that even the estimable ’It Doesn’t Make Me Happy’ is a
triumph of drama over substance, then perhaps this CD is best recommended for
cool kitsch fans only. ***
Review by Pete Feenstra
GLENN MELING Sometimes
A Bigger Heart
Originally from Norway, but a free spirit who's spend a lifetime forming and
breaking up bands and circumnavigating the musical globe - in places as far
apart as Oslo and Melbourne, Australia, Glenn has finally found his way to
London his debut album Sometimes A Bigger Heart was recorded across 2008/09.
While the US of A hasn't featured in his musical base camps, in many ways this
singer songwriter is steeped in the country / folk crossover genre that has a
wider [radio] audience across the pond.
But Glenn does at least throw vary the pace, adding Celtic and World influences
to the run out of the opening cut - When The First Rain Falls, and trumpet and
trombone to the pedal steel on the title track.
But much of the rest of the set has a distinctly sub U2 feel, and while many of
the song structures wouldn't be out of place on a U2 setlist, nobody does Bono
better than Bono.
Which is a shame, because Sometimes A Bigger Heart is a strong debut. But
whether it's unique enough to break Glenn Milling beyond the realms of myspace
wannabees, only time will tell. ***
Review by Pete Whalley
DJEVARA The Rising Tide
(Part 1): Corsa Al Ribasso
(Genin Records/Shellshock)
From the opening few bars of Djevara's third album, it's clear these guys are
angry.
Major players in London's
underground scene, Djevara front man Bass ,sings with the kind of gritty honesty
you only get when you are trying to please yourself and not your label.
Opening track 'Jesus vs
Mohammed (Ali)'is very reminiscent of the early 80's New York hardcore scene.
'Lines in The Sand' continues this trend. Agnostic Front and Bad Brains
spring to mind, but then those aren't bad people to be compared to.
'Once More With Feeling'
is a different prospect altogether. An acoustic folky sound with raw production,
it reminded me a little bit of the way Biohazard & Sepultura used to throw in
the odd piano arrangement or tribal song. Elsewhere 'Corsa Al Ribasso/Homeless'
(race to the bottom) & 'Rising Tide of the Disconnected' are songs of
downtrodden despair.
Vocally there's no denying
the obvious similarities in style, between Bass and Rage Against The Machine's
Zack De La Rocha , but I would add the subject matter and powerful delivery is
up there with the angst of Skin from Skunk Anansie. If you like your music hard
edged, unpolished and punchy with a no frills rock attitude, you could do a lot
worse. ***
Review by Darren
Coomber
ECHOES Nature I
Existence (Prog Rock Records)
More prog metal, mixed with what the press release calls Math Metal. I'll pass
on the latter because I have no idea what it means. Here is chunky metal with
prog touches. There's some industrial in there too.
Some of the guitar work verges on classical, quite deafening when played in a
prog power industrial metal band. Mix Helloween with Rush or Deep Purple and
crank it up to 11.
Elsewhere the acoustic
segments make a welcome break, time to catch your breath, but even there the
guitar can get a bit noodly. Some of the time changes and bass lines nod to 90s
King Crimson too.
As heavy a prog album as I've heard. Interesting. ***
Review by Joe Geesin
MASQUERAGE Moonlight
Time
Modern trad metal band, solid, with influences of the likes of Iron Maiden,
Helloween and Pretty Maids.
The production, backing and layered lead vocals verge on operatic, but the main
vocals, like the guitars, really nod at trad power metal. The keyboards help an
extra dimension too.
Opening track 'We Will Never Learn' features some great guitar work, and the
guitar / keyboard interplay on the title track is reminiscent of the mid 90s
Rainbow album. Elsewhere there’s a mid 80s Saxon touch. Is that Raven in there
too I hear?
A good mix of new and old. Even with the plush production, trad metal is alive
and well. ***
Review by Joe Geesin
MICHAEL GILL Blues For
Lazarus (ProgRock Records)
Michael Gill is an American pianist/composer and on this album he has half of
the album given over to his musical takes on classic SF books like 'Dune'.
It is very well played but
veers into free form jazz too much for my personal tastes and the vocals aren't
that great on some songs. But 'Merlin's Journey' features some very interesting
musical passages and the cover of Peter Gabriel's 'Here Comes The Flood' is
definitely worth hearing.
If you like jazz tinged progressive music then do check this out further. **½
Review by Jason Ritchie
KAH More Than Dawn
Another addition to the growing 'quirky' female singer bandwagon.
The album opener Wanting To Be Haunted has a RazorBladeKisses feel to it -
'little girl' vocals over eerie keyboards and assorted electronica. But London
based Kah has more in common with Imogen Heap - building every song layer by
layer using a simple combination of Macbook, mic, keyboard, Logic Pro and
Absynth.
And with artists like Little Boots and La Rou striking a chord with the record
buying public, and Imogen Heap having gone off the boil with her latest
offering, it could be that there's a window of opportunity for Kah.
Probably the pick of the bunch is the driving Fugitive - an excellent number
that was her first release back in 2008. Unfortunately it does stand out in
terms of commercial potential. But you're a fan of the female vocal DIY
electronica genre then More Than Dawn is well worth exploring . **½
Review by Pete Whalley
MATTHEW GLENN THOMPSON
The Garden And The Arcade
The debut release from US songwriter Matthew Glenn Thompson has 'Made in The
USA' stamped through it as distinctly as a bar of Blackpool rock.
Featuring Matthew on vocals, piano and guitar, and supported by Michael Jerome
Moore on Drums and Paul Jenkins on bass, The Garden And The Arcade is a 9 track
album packed with radio friendly melodies.
It's a strong singer songwriter debut, and it will be interesting to see with a
full scale media UK assault media assault planned for 2010 hits pay dirt.
Certainly The Garden And The Arcade is a pleasant 'drive time' listen, and the
songs should stand up well to Matthews occasional acoustic interpretations.
It may too 'clean cut' for UK mass audiences, but if Jack Johnson and Jason Mraz
can crack it here, who knows? **½
Review by Pete Whalley
FINAL GRAVITY Final
Gravity
This debut album has to come with the most uninformative press release ever.
No track listing, no title, no label, no contact details. In fact, this full
page of A4 seems to compare the band’s sound to the unique musical brew of beer
and little more.
If you’re reading this
guys, a press release like that would get Mozart slated, so you’re on a hiding
to nothing before we’ve even started. Do we need to know that the singer was
equally influenced by Simon & Garfunkel and RATM? I’m running for cover already.
The music isn’t quite so bad, progressive metal with nu-metal and alternative
touches, and hints of Rush too. Of all the different influences, it’s the Rush
that is the saving grace.
Some glimpses of melody, but in places it is disjointed. Not all the time / pace
changes work as well they might.
There is hope and scope, but far from as enjoyable as it could have been. **
Review by Joe Geesin
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