|
We've listed albums in order of star rating. Best first.
Reviews by Nick van der
Meulen, Jason Ritchie, Pete Whalley
PELLEK Bag of Tricks
(Liljegren Records/Doolittle Group)
Pellek is a Norwegian singer/songwriter who came to the fore by performing on
'The X Factor' on Norwegian television in 2009. He wrote 'Bag of Tricks'
afterwards, presenting some of the material on YouTube, which landed him the
role of vocalist in Damnation Angels, as well as The ANABASIS. 'Bag of Tricks'
finally saw the light of day after playing a guest role on one of Tommy
ReinXeed’s videos.
Pellek has quite an array of guests lined up for this work, including Amanda
Somerville and Oliver Hartmann. The result is a melodic power metal album in the
vein of Sonata Arctica. Each performer does his/her job well and each song a
pleasure to listen to. This album could fit in with Sonata Arctica’s 'Silence'
(arguably still their best release to date).
Another great power metal project from Scandinavia which needs to be sampled!
****½
Review by Nick van der Meulen
PRAYER Danger In The
Dark (Escape Music)
Prayer is a Finnish AOR/melodic rock outfit which created ripples in 2005 with
the release of their debut, 'Wrong address'. Seven years later the band,
featuring a revised line up, releases 'Danger in the dark'…
This is a cracking release, with Tapani Tikkanen, the voice and songwriter of
the band, in fine fettle with the pen. Ten songs are featured, producing smooth
AOR tinged melodic rock which is a joy to listen to. The album is easy on the
ears and soothes the soul.
This is a classic example of producing fine rock music without it having to grab
you by the throat. Essential for AOR and even Westcoast lovers. ****½
Review by Nick van der Meulen
POLUTION Beyond Control (Escape Music)
Polution is a Swiss rock outfit that has been on the local underground scene
since 2005. 'Beyond control' is their sophomore release after their debut,
'Overheated', was released in 2007.
While this is touted for Gotthard and AC/DC fans, this is more modern rock in
flavour, with touches of Nickelback and The Offspring to be heard. What makes
this stand out is the fact that there is a lot of melody, with Bullet of my
Valentine type of guitar harmonies, the riffing is more prominent and Pascal
Gwerder’s vocals while raspy at times, adds another dimension to the overall
sound.
Essential for hard rock lovers. ****
Review by Nick van der
Meulen
WILD FRONTIER 2012 (Music Buy Mail/Cargo Records)
Wild Frontier is a German rock outfit that has been around for 22 years,
recording five albums in the process, with '2012' being their latest effort.
While the band is touted as hard rock, it is only the opening track, '2012',
which is heavy rock. Most of the album ranges between power pop and melodic
rock. The melodies are upbeat and light, leaving one in a good mood as the final
notes of 'Gimme gimme' (yes, the ABBA song) fade away.
Another great German band hidden from the world has produced a fine melodic rock
album which needs to be heard. ****
Review by Nick van der Meulen
ORDINARY BRAINWASH ME 2.0 Metal Mind Productions 2012
This is the third album by the one man band that is Rafal Zak and listening to
this album it is amazing one man can create such deep and wonderous musical
soundscapes. There is much on here to be enjoyed by fans of Porcupine Tree (‘Unbirthday’)
and even the pomp sweep of Muse on ‘Don’t Look Back’.
Not always an easy listen as the dark lyrics have a computer theme running
through them and much talk of failing and fixing yourself. But worth the effort
and musically it reveals a little more with each listen. If Rafal Zak is this
talented on his own imagine what he could come up with a band of similar minded
musicians!
***½
Review by Jason Ritchie
STEEL THREADS Timing Is
Everything
Formed in July 2011 the band consists of Neil Wardleworth on guitar, vocals
and percussion, Stuart Eastham on double bass and Cliff Woodworth on fiddle.
Listening to this album
you are reminded of the Levellers (more in that band’s acoustic mode as Steel
Threads don’t use drums or electric bass) and the Waterboys, both bands who
happily melded rock with folk.
Steel Threads also add in
a touch of epic rock a la Led Zeppelin on ‘Gave You A Thought’, which if it had
a full on rhythm section would blow your speakers! As it is, it is still a
mighty beast of a tune.
The fiddle playing certainly keeps the listener’s interest (Cliff Woodworth has
the slightly spacey sound former Fairport Convention fiddler Ric Sanders has) as
the one weakness in the album for me is some of the songs sound to mid-paced.
Perhaps a couple more
songs like ‘Dead In My Mouth’ and the title track would have made this album
stronger. Still, of definite interest to fans of the Levellers and the masters
of folk rock, Fairport Convention. ***
Review by Jason Ritchie
ALLY THE FIDDLE Red
Unicorn
It's not often you see an album that attempts to straddle the traditional
folk and rock / metal genres. But that's just what this 2008 offering from
German fiddler and violinist Ally Scorch attempts to achieve.
Conceived by Ally as a solo project the line up has expanded to include Robert
Klawonn (guitar), Diemo Heuer (guitar), Thorsten Hartung (bass) and Stefan
Hukriede (drums). As a band they've supported artists like UFO and Ally
continues to work as a session player on the European circuit.
In essence Red Unicorn is a 'taster' running to 5 tracks over 25 minutes
combining traditional Scottish and Irish tunes with a fairly heavy rock band.
The set opener Catharsis
is a short hard hitting number and Glenglass equally evocative, but after a
while the absence of vocals (other than a narration on the title track) becomes
a little wearisome - particularly on the longer tracks.
The Mason's Apron - a wild jig / reel falls a little wide of the mark and
ultimately the band seem uncertain whether they're a rock band playing second
fiddle to Ally, or a band truly trying to integrate the genres.
It's a good idea, and Ally's undoubtedly a talented player, but to rise above
the 'novelty support act' billing they're going to need more song structure, and
preferably a vocalist. ***
Review by Pete Whalley
TIRILL Tales From Tranquil August Gardens / Nine & Fifty Swans
An unusual 'twin' release sees the re-issue of Tirill's 2003 debut album
recorded over the period 1998 - 2002, and her new follow-up recorded some 10
years later.
For those, like me, not in the know, Tirill is a Norwegian singer, songwriter,
guitarist, and percussionist with a background in progressive and psychedelic
rock and medieval music.
The sleeve notes to her new album, courtesy of The University Of Aberdeen,
accurately describes it as evocative and ethereal, delicate, sensuous and
vulnerable, haunting and seductive, and the perfect accompaniment to the poetry
of W B Yeats, from where the lyrics are drawn.
And there, you pretty much have it - both albums have a learned and suggestive
feel, one that paints mental pictures of cloisters and places or worship,
solitude and learning.
In truth there's nothing
to choose between them, and they're for people who want to sit quietly and
absorb them and all that 'the arts' have to offer in quiet contemplation.
Not for those seeking a
cheap thrill, but those of more studious dispositions. Discuss. ***
Review by Pete Whalley
VICTORIA CELESTINE From The Outside
You have to be sceptical when you get a debut album from a 15 year old to
review. Words like 'precocious', 'child exploitation', and 'American Idol'
spring to mind.
But surprisingly, 'From The Outside' is a remarkably mature album from a girl
who only discovered performing at musical theatre summer camp at the age of 12
and only picked up the guitar at the age of 12.
Invited by Gordon Raphael (Regina Spektor, The Strokes) into the studio to
record her debut album, she's already picked up a wide range of awards and
plaudits although she remains unsigned at present.
From The Outside displays a song writing maturity beyond her years (think Diane
Birch) and she has a vocal style that marries Norah Jones, Marilyn Monroe and X
Factor semi finalist Diana Vickers.
For those impressed by Vickers ability, this is probably the album she should
have made before finding theatrical success. ***
Review by Pete Whalley
LOIS BLAISCH Through Thick And Thin
Although it's not clear from the PR Blurb and the absence of sleeve notes /
credits Through Thick And Thin would appear to be something of a career / demo
retrospective from a singer, songwriter, guitarist, producer and performer
perhaps best known for her eight times platinum #1 hit Could've Been recorded by
Tiffany and performed by Carrie Underwood on American Idol.
But her work goes much wider than that - picked up by Disney as a theme park
performer she's appeared on three platinum children's albums, sung on TV show
themes including Stingray, worked on numerous film, TV and commercials for
prestigious brands such as Pepsi, Coke, Levi jeans.
So it's a wonder she's not made it in her own right. And Through Thick And Thin
offers no clues - the vocals are immaculate throughout and her songwriting the
sort of AOR material of movie soundtracks (think Carly Simon or Aerosmith).
The collection is, however, somewhat entrenched in the 80s/90s and in need of a
production makeover. But if there's ever a 2nd Miami Vice movie, Lois Blaisch is
a must for doing the soundtrack. ***
Review by Pete Whalley
POLLY BARRETT Mr Bookshop
Polly Barrett is the 'new jewel' of Irish folk / pop, and it's easy to see
why.
Her debut album Mr Bookshop is an 11 track showcase of her acoustic guitar based
radio friendy 'pop'. Harking back to the 1970's singer songwriter generation,
the album is dominated by Polly's acoustic guitar and vocals with only subtle
accompaniment in the form of banjo and backing vocals courtesy of Michael Daly
and Josh Sampson on drums.
An unsigned artist from County Cork, where she began her career as a busker, her
vocals bring to mind a meeting of the styles of Cara Dillon and Joni Mitchell,
and the clarity of the recording adds to the overall ambience.
It's the sort of accessible set that many probably many wish Andrea Corr had
produced instead of 'going a bit weird' when the Corrs decided to take a long
term sabbatical. ***
Review by Pete Whalley
CRY FOR EDEN The 11th
Hour
The PR blurb for this debut 'concept' album from Cry For Eden - a female
fronted rock band from Portland, Oregon tells us little beyond the line up of
Lisa Mann (vocals and bass), Larry London (drums), Don Graham (guitars) and
James Borst (piano, keyboards / orchestration), and the fact that with their
classical orchestration the band sit in the symphonic metal genre.
With all songs written by James Borst, the 'concept' of the end of days isn't a
new one, and the game plan of frequent 'storytelling' interludes from family
scenes to news flashes works both for and against the project.
On the plus side, it adds a certain level of atmosphere to the album, but on the
downside it breaks it up and is likely to become somewhat wearing on repeated
listens. And while bands such as Within Temptation, Nightwish and Epica are
referenced, Cry For Eden probably have more in common with early Dream Theater.
For me, the more restrained numbers like One Last Hope and Finally Free
demonstrate a more understated and latent power and work better than the more
bombastic moments that spill across most of the album. The format of soaring
melodic vocals (and Lisa Mann does a noteworthy job in that respect) underpinned
by high speed guitar and drum runs is fast becoming a somewhat clichéd sound.
It's not that the playing and performance isn't of a consistently high quality.
It is. But the bottom line is that despite some fine moments, Cry For Eden don't
bring anything dramatically 'new' to the party. ***
Review by Pete Whalley
ROBBIN THOMPSON Just A Blur In The Rearview
American Song Festival winner singer songwriter Robbin Thompson is no 'new
kid on the block'. He recorded his first '45' back in 1966 and has written songs
with Springsteen, Eagles bassist Timothy B Schmit, and Dave Matthews drummer
Carter Beauford.
He's shared the stage with Dylan, Springsteen, CSN, Tina Turner, Bonnie Raitt,
Little Feat and Bruce Hornsby. And he was a member of the early Springsteen band
Steel Mill. But since the mid 1970's he's been a solo artist with eight previous
albums to his name.
So why haven't we heard of him? Just A Blur In The Rearview - a project that
took about 3 years to complete offers few answers. The opener, and title track
is classic Springsteen meets Bruce Hornsby with Thompson's vocals eerily
reminiscent of The Boss. The same is true of One-Horse Town which adds elements
of The Eagles.
Those dulcet tones are a consistent feature of a consistent set that touches on
R&B, the blues, country, and bluesy rock 'n' roll - all delivered in that laid
back AOR west coast style. There's really only one word for it, and that's
'classy'.
Those who lament the passing of The Eagles would undoubtedly enjoy Just A Blur
In The Rearview. But the fact this set dates back to 2007 suggests it's already
passed them by without so much as a glance. ***
Review by Pete Whalley
AUTUMN WHISPERS Cry Of Dereliction Vol.1
A rather pleasant debut release from Autumn Whispers - a multi national
group of musicians from Norway, Greece, Malaysia and England, with backgrounds
in classical, Byzantine, pop, progressive rock and improvisational music.
While the title - Cry Of Dereliction, and the album cover conjure images of the
end of days, the album is, in fact the first in a series of seven that will put
musical arrangements to selected poems from some of the world's most recognised
poets - in this instance, William Blake - as well as their own.
The result is a gently ebbing album of 10 tracks that harks back to the concept
albums of the early 1970s British rock scene in a style the band likes to label
as 'poetic rock with progressive and classical elements based on enigmatic
poetry'.
It's an album the brims with lyrical and musical imagery and one that is both
dreamy and graceful. And while it never exactly gathers a 'head of steam' it is
rather soothing and one for life's quieter and more reflective moments. It will
also strike a chord with those who yearn for those yesteryears when music
arrived in gatefold sleeves and wasn't quite so 'disposable'. ***
Review by Pete Whalley
MIDWICH ASSEMBLY Bewilderland
Formed in 2010 Midwich Assembly defy categorisation - broad sonic
soundscapes of keys and string arrangements permeate their debut album that
encapsulates ambient, alternative and neo prog rock, and electronica.
A five piece comprising Tim Hans Smith Strong (lead and backing vocals), Chris
Atherton (lead and backing vocals), Dave Parkinson (electric and acoustic
guitars), Paul Bibby (guitars) and Dave Atherton (keys), their strengths like in
their rhythms and melodies which range from the sublime to stream hammer
percussive, but mostly major in dreamy ambience.
Large sections of the album are instrumental and bring to mind the works of
Trevor Horn / Art Of Noise and Blue Nile with, at times, a (distinctly laid
back) Dave Gahan style of vocal delivery.
It's a combination that finds the band out on an indie branch of their own. No
bad place to be and one that will undoubtedly find them a niche following.
There's moments of haunting beauty - Astronomer Royal and Shadowtown for
example, have the potential for wider appeal, but in the current climate it's
difficult to see mainstream success.
For those who like their music moody and ambient. ***
Review by Pete Whalley
GRACE POTTER & THE NOCTURNALS The Lion The Beast The Beat
Grace Potter - undoubtedly one of the most exciting and finest vocalists of
her generation - is turning into something of a chameleon with each successive
album release taking a different fork in the road.
So far we've had her superb 2004 country blues eponymous debut, the 'classic'
rock pairing of Nothing But The Water (2006) and This Is Somewhere (2007) -
surely her finest hour yielding timeless numbers like Stop The Bus and
Apologies, and her last album Grace Potter & The Nocturnals which veered more
towards the mainstream pop market.
It's unclear whether she and The Nocturnals simply like to keep exploring new
areas or whether they're searching for that elusive breakthrough that could
convert them to stadium headliners around the globe. But each album to date has
offered up and clutch of timeless gems.
The Lion The Beast The Beat is again something of an enigma of an album - one
which attempts to cover all the aforementioned bases, and a few more. And
perhaps most disconcertingly, a foray into dance beats.
The result is a disjointed affair that is probably the weakest Grace Potter
album to date and one suggests the band may be running out of gas. Yes, there's
one or two songs that just about measure up to her previous best (the title
track and One Heart Missing being examples), but you can't help but feel the
next album may see the launch of a solo career. **½
Review by Pete Whalley
 |
Print this page in printer-friendly format |
|
