We've listed albums in order of star rating. Best first.
DISAFFECTION Begin The Revolution (Bombworks Records)
www.myspace.com/disaffectionthrashers
It seems that old school
thrash is back in vogue, certainly as far as these Brazilians are concerned. It
could be the late 80s and Metal Forces magazine all over again. Think Slayer,
Kreator and Exodus as definite influences. Machine gun riffs, pounding drums,
screamed vocals, high speed solos, it's prime old school thrash.
The press release lists Municipal Waste and Toxic Holocaust, who mean nothing to
me, but I would also add that there is a hint of Anthrax in there.
This isn't quite in the league of the big four, the songs don't have total
identity. A tad samey, but some good thrash moments. ***½
Review by Joe Geesin
BALLBREAKER Daddy Long
Legs
www.ballbreaker.net
15 years ago, this band
started off as an AC/DC tribute band. Now on their 3rd album of original
material, it's husky, sleazy, and a LOT of fun.
Hard rock'n'roll, the opening tracks are several gears of beefed up sleaze,
while the title track is reminiscent of mid 70s Alice Cooper. "B Hole Boogie"
rocks as you would expect.
Once hailed as the greatest bar room band ever, they have since supported
Nazareth, Loverboy and Quiet Riot, and on this evidence have probably gone down
a storm with all three. ***½
Review by Joe Geesin
I AM KLOOT Sky At Night (EMI)
Sky At Night is the 5th
album from Manchester indie / alt rockers John Bramwell (vocals / guitar),
Andrew Hargreaves (drums) and Peter Jobson (bass).
John Bramwell is the
thinking man's Alex Turner - a northern poet. The album opens with Northern
Skies - a wonderful piece of northern Americana, followed by To The Brink a
decadently faded string backed show tune which Turner may one day aspire to.
A songwriter's songwriter,
the centrepiece is undoubtedly Bramwell's songs and heartfelt deliveries, and
with the Elbow's Guy Harvey back in the production chair this gentle album
showcases Bramwell's songwriting talent, perfectly demonstrating the adage that
less is more.
A thing of shimmering
beauty, no question Bramwell could teach most singer songwriter's a thing or
two. Check it out. ***½
Review by Pete Whalley
THE CULPRIT The Culprit
(Not On Your Radio)
www.theculprit.co.uk
Debut album from this
young band, it is billed as Electro Rock, which sadly means that, for all the
good moments, it is a bit of a programmed mess.
The rockier moments hint of alternative rock, while tracks like "Kill Or Cure"
are more beefed up guitar pop. Think a radio accessible Nine Inch Nails, or
Muse.
It is full on guitar and drums, but the programming and vocal processing really
doesn't help.
There are some good melodic moments, but a cover of Howard Jones' "What Is Love"
may be too melodic for most.
Good pseudo rock. ***
Review by Joe Geesin
THE PERFECT CRIME
Everything Else Can Wait
A three piece from the
leafy suburb of St. Neots in Cambridgeshire - Adam Mortaro (vocals and guitars),
Chris Roberts (bass and backing vocals), and Scott Cambell (drums and backing
vocals).
Not what you might expect
to emerge from middle England. Angst, shouty vocals, discordant riffs, algebraic
time changes as tight as a cat's backside, and anthemic melodies. And you've
only got to look to Biffy Clyro to see what a racket a three piece can make when
they set their minds to the task.
And that's just what The
Perfect Crime do, but unlike others by looking to combine intense indie, the
heavy rock of say, Creed, and elements of prog.
For my liking The Perfect
Crime are a little 'in your face' when they explode into the heavier aspects of
their sound. But that said, they do successfully combine genres that haven't
necessarily made comfortable bedfellows, to make a sound which is pretty much,
their own. I suspect there's a market for The perfect Crime. Their challenge
will be to tap into it. ***
Review by Pete Whalley
IF WEN Take A Look At
The Sea
A singer songwriter from
Cornwall who produces ‘pastoral folk music’.
Take a Look At The Sea was
written on a beach in West Cornwall and by a river in London, and recorded in an
ancient barn using just a guitar and a cheap mic and recorder bought on ebay.
Mastered by Tim Dennan
(Belle and Sebastian) it’s an album that harks back to the folkie idealism of
the late sixties and Donovan, Al Stewart and Nick Drake in particular. And in
that context it does what it says on the tin.
Beautifully played and
recorded. While it may not ‘rock my world’, if ‘classic’ late 1960’s style
English singer songwriter folk is your bag, then Take A Look At Sea is an
essential purchase. ***
Review by Pete Whalley
SVOLK Svolk (Tuba Revords)
www.myspace.com/svolk
Brutal bear metal from
Norway. A beefed up 80s (and early 90s) throwback, this is solid, chunky metal.
There is also a slight nod to alt / stoner, but it is too energetic and melodic
(in a brutal way) for that.
"Anchor" is really worth checking out, with the most brutal mix of riffs and
solos, the twin guitars combining nicely. The intro to "Sweet Agony" is a strong
nod to old school trad thrash.
Heavy as hell, it does pack a punch. A tad sludgy at times though. ***
Review by Joe Geesin
NAIL Power And Greed
Who are they? A
progressive heavy rock / metal bunch of seasoned veterans from Canada fronted by
Rainer (guitars / vocals) and Cindy (vocals) Wiechmann in 2007 when they
departed the 'hair metal' band Helix. The line-up is completed by Darcy Maudsley
(bass/ vocals) and Dale Penney (drums / vocals).
What're they like?
Power and Greed is the band's follow up to their 2007 eponymous debut and Nail
do exactly what it says on the can. That is play hard, to the point, metal.
Essentially they follow
the blueprint of British bands like Sabbath / Ozzy Osborne and Iron Maiden
combining aspects of US counterparts like Rush, Dio and Tool. So what you get is
power metal guitar mayhem with plenty of hooks, an explosive rhythm section,
proggy time changes and, of course, powerful vocals.
Should I buy?
Currently unsigned and independently managed, Nail don't bring pretend to bring
anything new to the genre, but there's no knocking their musicianship,
enthusiasm and punch. With a big production budget, who knows? But in the
meantime, they'd certainly enliven any metal festival stage. ***
Review by Pete Whalley
SATELLITES & SIRENS Satellites & Sirens
Who are they? A
Christian 'high energy' four piece from Nashville, formed by guitarist/vocalist
Geoff Hunker who recruited the rest of the band (Jonathan Dimmel (drums), David
Troyer (guitar), and Brandon Owens (bass / synth)) via an online classified ads
site.
What're they like?
A cross between the current crop of British post punk indie bands favoured by
the likes of NME - say, Go Audio or You Me At Six, and The Buggles / Abba. Now
there's a combination that would be difficult to dream up. Perhaps only in
nightmares.
So what you get is big
guitar based up-tempo pop numbers and big choruses tempered by 80s style synths.
And naturally, very radio friendly in a Radio 1 sort of way.
It's strange because this
is a scene that in the UK, has almost run its course. That is, until the
festival season gets in full swing. Of course, the US are still playing catch up
and they always add that little bit more polish or pizazz than us Brits - Metro
Station being a prime example.
Should I buy?
Anthemic songs mixing disco / Buggles synths with massive pop choruses make this
the perfect sound of the summer and perfect for festival participation. With the
right exposure one wonders how they can possibly fail. ***
Review by Pete Whalley
CALAMATEUR Each Dirty Letter
Who is he?
Calamateur is the nom de plume of Scottish singer songwriter Andrew Howie, a
musician based near Inverness in the Highlands. He's been recording and
releasing his own music since 2000. Each Dirty Letter is his 4th album release.
What's he like? The
album opens with Change The World, I Would - a gentle, wistful and laid back
number perfect for lonely bedsitters everywhere. Banoffee drifts into Snow
Patrol territory - a swelling, swirling love song, with a 'to die for' chorus
that would be equally at home in a folk club or filling an arena.
And that's the neat trick
that Calamateur has pulled off with Each Dirty Letter: it's an album that works
on the level of intimate confessional, but which would work equally well in
front of a much larger audience - the perfect example being 'Retreat', a lovely
duet with Jo Mango that is firmly in Damien Rice territory.
Should I buy? If
you're a fan of bands like Snow Patrol, then you're going to appreciate what
Calamateur and Each Dirty Letter has to offer. That is, beautifully played and
produced, singer / songwriter soft rock of the first order. ***
Review by Pete Whalley
FATINIZA Confusion
Born in the Colombian mountains, but now resident in Dubai, female singer
songwriter Fatiniza's debut album Confusion is aimed squarely at the pop / rock
market.
With her South American
vocal inflections it's impossible not to think of Shakira. And on the opening
track (Out Of Control) at least, her vocals also have an air of Pink to them.
You get very much what you might expect from an artist at the pop end of the
rock spectrum - plenty of rock guitars, big choruses, acoustic based pop / rock
and all worthy of radio play. But I still can't shake the Shakira image.
Almost inevitably there's a large proportion of Latin rhythms and percussion.
And of course, there's some verses and songs in Spanish. I still can't shake
that Shakira image.
But hey, Shakira's not a bad role model. If anything Fatiniza is more 'rock'
orientated, but what Confusion is crying out for is some stand out lead guitar
work to counterbalance the vocals. It would have been the perfect vehicle for a
Carlos Santana collaboration. As it is, it's pleasant radio friendly fodder, but
unlikely to break Fatiniza into the 'big time'.
That said, in Dubai she's played in front of Sheiks, Tiger Woods and AC Milan. A
rich sugar Daddy with the right connections may be all that's needed. ***
Review by Pete Whalley
BATTLE PLANS Sleep Well
www.myspace.com/battleplansgo
Odd mix this, rock with
guitar pop in a disjointed grunge or alt fashion. So heavy and light and heavy
and light, and a lot of Radiohead moments.
Some heavier guitar on the other 2 tracks. Nodding alternative prog rock.
Apparently for fans of The Mars Volta.
This is OK, but it really didn't do much for me. **½
Review by Joe Geesin
INDICA A Way Away
(Nuclear Blast)
With one platinum and two
gold albums, and numerous Finnish top ten singles to their name, the Finnish all
girl group Indica make a play for the international market with their first
English speaking record.
'Discovered' by Nightwish
boss Tuomas Holopainen and with two Nightwish tours under their belts, you might
reasonably expect this five piece girl band to have some Finnish symphonic metal
tendencies. But any they have are well buried on 'A Way Away'.
Described back at home as
'mystic romantic pop', there's no real obvious metal connection - yes, there's
the occasional power chord and the tolling of church bells. And there's some
dramatic strings sections of cinematic proportion.
But the giveaway is the
iTunes genre classification of 'pop' with Eurovision being the most obvious
reference point. Nothing wrong with that, and I'm sure Indica would do pretty
well. But of interest to GRTR! readers? I suspect a little too sugary for their
rock loving palates. **½
TINA LIE Free
Enough To Fall
Who is she?
Originally from Lillehammer, and a firm favourite in her native Norway, Tina Lie
is an Americana / blues / AOR singer with whiskey soaked vocals.
What's she like?
Unfortunately, 'tame' is the word that springs to mind. Free Enough To Fall is a
mix of self penned songs and covers and is could be described as 'cruise liner'
rock.
As cabaret acts go, you
could hardly fail to be impressed, but in 'rock' terms there's a distinct lack
of urgency, bite or edge. And when the band attempt to rock out, it's in the
safest of fashions, and it feels like no one is moving out of second gear. Only
on Home Ground is the pedal pushed anywhere near the metal, but even then Tina
sounds like she's got plenty of horsepower left untapped under the bonnet.
Should I buy?
Comparisons have been made with Janis Joplin, but I think that can only be what
Joplin might have faded to had she followed Elvis's spiral into Vegas. It's a
shame because Tina Lie sounds like she could let rip with the best of them. But
contrast Free Enough To Fall with Grace Potter who sings like her very life
depends on it, or the excellent Whiskey Or Water by VK Lynne, and there really
is no comparison. A missed opportunity. **½
Review by Pete Whalley
MIKE CAMPESE Electric
City
Having reviewed the other
guitar instru albums in this month’s selection, great things were hoped for from
'guitar virtuoso' Campese who studied in California with some of the greats,
among them Paul Gilbert.
Whilst Campese is more technically gifted than the young Frelek and the older
Leitsch reviewed here, this (his seventh) album can only be of real interest to
insomniac guitar nerds. And while there are probably a few of those, for
us mere mortals this is more like an album of technical guitar exercises,
whereas more muscle should have been exercised on the semblance of a tune and a
stable time signature.
This album is a triumph of shred over substance. Even the titles are unimaginative: ‘Shred Machine', 'Shred'. And the telling 'Over The Top'.
Whilst 'The Bitch Upstairs' maybe refers to his landlady who has simply had enough of his abject noodling down below...
The 10 minute
'tour-de-force', the eastern-flavoured 'Camelryde', is frankly a complete mess.
And when Campese tries his
hand at vocals: just don’t go there. The bass and drums also sound like an
afterthought with the focus very firmly on the guitar.
There is no doubting that Campese has a pedigree, including a brief stint in
Trans-Siberian Orchestra, but ‘Electric City’ is unlikely to win wider converts
to his brand of frenetic, florid, and ultimately vacuous shred. **½
Review by David Randall
PADDY LEITSCH - Rise of
the Guitar Dragon (Sound Lemonade)
Paddy Leitsch's album is described as like Joe Satriani jamming with Pink Floyd,
and whilst Satch is a good benchmark it does suggest a potential lack of
originality.
The album is only lifted by the use of quirky samples, and an overall more
ambient approach as evidenced on 'Sunday Morning Breakfast'. However the
production is dire: heavily programmed and top heavy giving Chicago-based
Leitsch an unnecessarily trebly - and therefore ultimately irritating -
one-dimensional tone, and an almost absent bottom end.
'The Gypsy's Ghost Machine' is a good example, a potentially attractive tune
ruined by some over-the-top guitar and a production that sounds no more than a
demo. **½
Also on our sampler was the album 'Ed's Head A Graphic Audio Novel' which
presumably pre-dates 'Dragon'. It is really only of interest to guitarheads, but
they will have heard better. (***)
Review by David Randall
TOM FRELEK Moment Of
Certainty
We are as generous as possible here at GRTR! Towers but 'Moment Of
Certainty' is one of the worst guitar instrumental releases you're likely to
hear this year or, perhaps, ever.
Tom Frelek is a young Canadian guitarist. Evidently a self-production, nothing
wrong with that of course but it allows Frelek unchecked indulgence. He needs a
producer or at least an honest friend.
The simple truth is that the songs and arrangements are immature and just not
interesting enough, and the playing is boring and, unlike those who he cites as
influences (the usual suspects, Satriani, Petrucci, Paul Gilbert), lacks the wow
factor or even technical competence (poor intonation, string bends, vibrato
etc). It also seems completely devoid of emotion.
The only moment of certainty here is the feeling - after a couple of tracks,
perhaps less - you have more important things in life to be getting on with. *
Review by David Randall
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