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cheek and radio friendly electronic elements add to tance’, which will illuminate and joyful, full of upbeat
rocker which has an addic- the epic sound of opener festivals next summer. Alto- tracks with strong, bluesy
tive rhythm, while title track ‘Insanity’, setting up a con- gether a refreshing album. rhythms. The recent addi-
‘Welcome To The World’ trast with the classic rock- YYYYY tion of Ivano Andreozzi on
reverts to the heavier, sounding guitar riffs and Clare Boyle lead vocals brings the
chugging rock style yet re- the sense of angst in the power trio up to a four-
tains an upbeat feel in an- vocals. ‘The Last Goodbye’ piece and his harmonica
other infectious chorus. is more of a pop rock style skills help round out some
‘The Day We Fell’ has a with a deep sense of of the tracks. Opening with
deceptively haunting intro melancholy, which is again the fast-paced title track
APOCALYPTIC LOVERS blasted away by the drums particularly highlighted in ‘Wishing Well’, the dynamic
REDEMPTION VOLUME 1 and guitars, becoming a the heartfelt vocals. bass rhythm and drums
(APOCALYPTIC tale of pirates on the high There’s also an excellent power along like a freight
LOVERS) seas. Yes, really. It’s sheer acoustic piano-led version train, while the guitar, har-
‘Better Days’ is one hell genius, and alongside the to close the album which monica and vocals give it a
of an opening track. Letting Southern rock of the swag- heightens the emotional in- swing. Those rhythms con-
loose with frenetic riffs right gering ‘Fighting Jack’ is an tensity. Lyrically, this is a VOODOO VEGAS tinue to barrel along into
from the first chord, the en- album highlight, which, strong and intelligent FREAK SHOW CANDY ‘The Firing Line’, which has
ergy of Sean Magee’s gui- given the overall quality, is album, and there are mo- FLOSS a storming guitar solo,
tar is matched by the saying something. ments of great depth and (PHD) while ‘Heart On Fire’ goes
drums, bass, and the YYYYY beauty, such as the soulful Voodoo Vegas’s ‘Freak for a more laid-back classic
power of Robert Kane’s Clare Huckett and uplifting ‘Beautiful Day’ Show Candy Floss’ album rock style. ‘Twisted Mind’ is
voice. Apocalyptic Lovers and the truly stunning ‘La opener 'Backstabber' is a one of the most interesting
started life in the early 90s LAST GREAT DREAM- Luna’. Then there are the head-tilting, foot-tapping, tracks on the album.
as Love And War, and in ERS thundering rock tracks like face-melting hellraiser with Switching back and forth
their regeneration they TRANSMISSIONS FROM ‘Alter Ego’ and ‘Judgement extra sprinkles. Great vo- between a slow tempo and
have also rejuvenated the OBLIVION Day’. Redeem like to mix cals by Lawrence Case a faster pace, there’s a sin-
classic heavy rock sound (RAY) things up and the variety of backed by a rhythm section uous and seductive guitar
of the time. Having Michael An album of new music styles and emotions keep of thunder and riffs hot rhythm which is almost
Wagener (Skid Row, Mot- from the resurrected Last the interest throughout. enough to melt you face Latin in places. Once
ley Crue, Ozzy Osbourne) Great Dreamers is a thing They have strength in off. The pace slows down again, E.Z. Riders have
on mixing duties helps with of joy. It’s both energetic depth and have produced a for 'Resolution' and 'Killing created a terrific album. If
that. The portentous open- and reflective; 14 well- complex album that’s well Joke'. While not ballads, you haven’t encountered
ing of ‘Change Of Fre- crafted songs that capture worth a listen. they are slow rockers with them yet, then give them a
quency’ is pure theatre and their wit and charm, occa- YYYYY balls, great guitar solos and try.
the dramatic switches from sionally tinged with sad- Clare Huckett riffs added to a thundering YYYY
full-on heavy grind and dis- ness or quiet anger. bass line from Ash Moulton Clare Huckett
tortion to slow-paced re- ‘Oblivion Kids’ opens pro- and drums from Jonno
flection are very well done. ceedings in anthemic Smyth that sound like Thor CORNERSTONE
‘Left In The Cold’ continues power-pop style, which himself swinging his ham- REFLECTIONS
with the heavier feel, while bounces into ‘Love To Hate mer and raising thunder. (ATOM)
‘Who The Hell Are You?’ Me’, a surprisingly upbeat It’s bluesy, it’s sleazy, it’s a The comment on the
delivers another blistering take on a dysfunctional re- track called ‘Poison’. As press pack urging listeners
guitar intro to a power rock lationship. The poppy with the entire album, 'Poi- to “Enjoy this unhip, un-
anthem. Bluesy Southern ‘Elegy For Us’ and heartfelt son' reaches out and grabs cool, un-sexy music” is
rocker ‘The Groove’ is ‘Alone’ are great ballad- you by the scruff of your firmly tongue-in-cheek.
wildly infectious, and the type tracks, both of which neck with a sleazy rhythm Melodic AOR may not be
fierce energy of ‘Dying Day’ have strong and engaging section added to some hugely exciting but Aus-
brings the album to a close rhythms. ‘Dope School’ is a ANIMAN dirty harmonica. An tria’s Cornerstone are well-
on a high. ‘Redemption cracking, raucous, fast- THE UNHOLY acoustic-driven slice of practised in the flair for the
Volume 1’ is eight tracks of paced rocker with powering (MUSICARCHY MEDIA) apple pie is the best way to dramatic that the genre re-
hard-rocking magnificence. drum beats and clashing Formed by two long- describe 'Sleeping In The quires. So it’s quite 80s in
Absolutely brilliant. cymbals from the start. time friends, Thomas Rain'. It’s as close to a bal- feel with elements of differ-
YYYYY There’s a real old school Kihlberg and Bjorn Wen- lad as you could probably ent styles brought in for
Clare Huckett glam feel in the swaggering nerborg, this album brings expect, while album closer good effect. There’s the
rhythms and classic riffing, together the result of unfin- 'Walk Away' goes right power-rock of opener
MASSIVE WAGONS underscored with a throb- ished songs written over back to the sleazy rocking ‘Nothing To Lose’ and ‘Last
WELCOME TO THE bing bass. ‘White Light the years. Collaborating with pounding drums and Night’, which adds sax,
WORLD (Black Heart)’ sticks with with friend and mix artist heavy riffs. Overall, synths and piano into the
(OFF YER ROCKA) the rockier sound which is Thomas ”Plec” Johansson, Voodoo Vegas have nailed mix, and the soulful ballad
As well as the mixture kicked up another notch for they have produced a the prom queen with their ‘Whatever’. ‘True Confes-
of styles – hard rock, metal, ‘You Don’t Work’, with a sound not unlike classic sophomore release 'Freak sions’ has a bass rhythm
punk, the occasional more aggressive pop punk era Iron Maiden. The open- Show Candy Floss’. It’s 10 that’s pure funk. ‘Sooner Or
Southern rock or bluesy feel. ‘Transmissions From ing track, ‘Black Star’, res- tracks of rockin’ tunes that Later’ has a relaxed swing
twang – there’s a real Oblivion’ has a lot to rec- onates this melodic sound any headbanging, air guitar but while Alina Peter has a
sense of fun about Massive ommend it and marks a which draws you in and swinging, voodoo rocker good voice it’s not powerful
Wagons. While they have welcome return of a band leaves you wanting more. needs to add to their col- enough for the demands of
superb musical and song- that deserves to be much The rest don’t leave you lection - and anyone else the song. She’s certainly
writing abilities, they clearly better known. disappointed either, with for that matter. giving it all she’s got on this
don’t take themselves too YYYY the gothic overtones in the YYYYY and on ‘Believe In Me’ but
seriously. The punky fairy- Clare Huckett title track ‘Unholy’ and ‘Un- Shane Bradley it’s not quite enough. The
tale giant-inspired closer, known’ bewitching you, to music is good; it just feels
‘Fee Fi Fo Fum’, is proof REDEEM the darker bassline of E.Z. RIDERS like the vocals are letting it
enough of that. Kicking off AWAKE ‘Chains’ and ‘Scars’. There WISHING WELL down. Alina Peter has a
proceedings, the ferocious (FASTBALL MUSIC) are many influences in this (E.Z. RIDERS) nice voice and is pleasant
‘Nails’ is an onslaught of ‘Awake’ is hard-edged album, notwithstanding Italians E.Z. Riders’ to listen to, but a bit more
thundering drums, heavy alt-rock, featuring an exam- their Danish counterparts, sound is firmly rooted in US strength would make the
riffs and snarling vocals. ination of life with all its Volbeat, and credit to them Southern and classic rock, difference.
‘Tokyo’, by contrast, is a highs and lows, love and for bringing back original and ‘Wishing Well’ is a YYY
lightweight, tongue-in- hate, joy and sadness. The metal rock, especially ‘Dis- great listen. It’s exuberant Clare Huckett
ALBUMS