Page 47 - Black Velvet Issue 94

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YYYYY Excellent YYYY Very Good YYY Good
YY Listenable, Just Y Poor

bluesy track which, just debut EP, ‘Lights’, certainly SCARVED voice along with the excel-
when you think it's over, demonstrates this with the LODESTONE lent lead guitar of Julian
suddenly bursts into a jaw- opening track ‘Ghost (SLEASZY RIDER) Angel and it’s a great com-
dropping instrumental Town’, which goes back to In Caro, Scarved, a bination. The short piano
break to end the album. A a rough, driving guitar foursome from Belgium, instrumental ‘Mirror’ opens
totally stunning release sound of punk that many have a singer with a pow- proceedings and leads into
from a totally stunning pop-punk bands have erful and very expressive ‘Masquerade’, a mid-paced
bunch of musicians. ditched to focus on a clean- voice. Her delivery in this melodic rock track given a
YYYYY cut sound. As the EP pro- fusion of classic rock, haunting air by the flute
Ian Trigg gresses with ‘Stitches’, we melodic rock and heavy weaving through it. ‘Under
see this continue with more metal is spot on, from the The Moonlight’ is a heart-
MR. BIG WHITEWOODS ROCK raw elements and catchy jaunty rhythms of opener breakingly beautiful
DEFYING GRAVITY WHITEWOODS ROCK choruses. The EP loses its ‘Naughty Reflexes’, to up- acoustic ballad, quite differ-
(FRONTIERS) (WHITEWOODS ROCK) pace a little with ‘L I G H T ping the power for the mar- ent to the rest of the album
U.S. rockers Mr. Big re- Hailing from Denmark, S’, a filler instrumental tial ‘Battlefield’ with its and an outstanding piece
turn with their latest album, Whitewoods Rock combine which drags a little, al- heavy guitars, and on to of work. By contrast, ‘Edge’
'Defying Gravity', and it melodic and hard rock with though things pick up again the gently soulful flow of has a driving rhythm and
shows that they are still as a bit of prog for their debut. in ‘Outcast’, with a catchy ‘Heart Of Rock ‘N’ Roll’. A power with a strong bass
hungry as ever and just as The album starts strongly bass riff intro which is sure good touch is the clarity line and outstanding rock
keen to impress their le- with ‘Black Night’, a decent to be running round your and strength of the bass guitar solo, while ‘Say
gions of diehard fans hard rocker before segue- head after hearing it. The lines, particularly on tracks Goodbye’ is a full-throttle
around the world. ing into ‘This Is The Day’, catchy riffs and harsh like ‘Sweet Surrender’, guitar-led hard rocker
Recorded live in the studio which has a country twang sound are a great compli- where the bass rhythm is which makes for a fantastic
in just six days, the album in the guitars and an uplift- ment to each other. How- an equal partner to the gui- end to the album. Sheer
is jam-packed full of all the ing feel. ‘Night Life’ is a ever, the final track on the tar riffs of the intro and at brilliance.
stuff that Mr. Big fans will slow burn, a gentle intro EP, ‘Home’, offers an alter- the climax of the solo, al- YYYYY
love and that they expect with plaintive vocals and native side to Reckless In- though the guitar solo in Clare Huckett
from these high-calibre mu- guitars that develop slowly tentions, being piano- this one is an absolute
sicians: in particular, the before the drums kick in driven and bearing a re- corker. Similarly, the intro BLACK STONE CHERRY
strong, powerful but emo- and the track builds to a semblance to songs from to ‘Maiden Voyage’ owes a BLACK TO BLUES
tional vocals from the age- final crescendo, followed bands such as Moose lot to the bass and the pun- (MASCOT)
less Eric Martin and by ‘Eventually’, which has Blood. This track in partic- ishing beats of the drums If there were a contem-
mind-blowing, technical an indie feel. The contrast- ular is a standout on the which carry through the porary rock band suited to
musicianship from the ing guitar rhythms seem a record and brings it to a track, making a strong end covering the sounds of
supremely-talented Paul little out of alignment at first close in spectacular fash- to the album. While there Muddy Waters and co.,
Gilbert, whose solo-shred- but make more sense with ion. If you like heavy gui- are some forgettable tracks then Black Stone Cherry
ding is on peak form right the slightly echoing quality tars, old school sounds and in the mix, ‘Lodestone’ is a tick all the right boxes.
from the off and continues of the vocals. ‘Life On The catchy choruses then this decent quality listen. The Throughout their career the
throughout; along with Run’, a slightly heavier alt- will definitely be the record performance is stronger Kentucky four-piece have
bass-shredding legend rock number, is possibly for you. than the writing though. had that Southern rock
Billy Sheehan and drum the standout track on the YYYY YYY vibe going on and they’ve
maestro Pat Torpey, with album, featuring bursts of Becky Simpson Clare Huckett always been more than
assistance from Matt Starr. thunderous drums, fierce happy to show appreciation
The songs themselves are guitars and an exuberant PUPPET KINGS towards blues music, so
as impressive as ever, with vocal. The album drags at VERY COOL & GROOVY celebrating the inspiration
all the elements that Mr. times though, so while (PUPPET KINGS) this style of music has
Big do so well: big, catchy there’s a lot of potential, With a seamless fusion given them with this ‘Black
choruses with great Whitewoods Rock are not of accessible rock and the To Blues’ covers EP comes
melodies and harmonies, quite there yet. dramatic power of metal, as no real surprise. This
along with superb guitar YYY Brighton’s Puppet Kings six-track offering has Black
solos. 'Open Your Eyes' Clare Huckett deliver a short but dynamic Stone Cherry sounding
kicks things off and is clas- blast of big riffs, huge cho- like, well, Black Stone
sic Mr. Big, 70s-style ruses and attitude. ‘Wan- Cherry. They may be cov-
bluesy rock with amazing derlust’ mixes grinding riffs ering songs from the 50s
vocals; the title track, 'De- with soaring flourishes and VITNE and 60s, but their raw and
fying Gravity', is one of the lyrically it expresses dislo- JUPITER heavy guitar-laden rendi-
most outstanding songs on cation, while ‘Other Side’ (RELECTRIC RECORDS / tions of tracks by Howlin’
the album, sounding a bit has a rollicking rhythm and HART AS A ROCK Wolf (‘Built For Comfort’)
different from the usual Mr. a sense of optimism. MUSIC) and Muddy Waters
Big sound with prog-rock There’s a political element Moving away from his (‘Champagne And
influences and an upbeat to their work too, with ‘Rich glam rock origins, Vitne Reefer’), are actually not
riff; 'Damn I'm In Love N’ White’ a shout out has combined a lot of mu- too distant from what we’ve
Again' is an acoustic- against Trump’s inaugura- sical styles and influences come to know and love
based, Beatle-tastic, bright RECKLESS INTENTIONS tion and general opposition into this new and deeply in- about this band. Chris
and breezy pop song; LIGHTS to division and treatment of trospective album. It’s Robertson’s vocals fit per-
'Mean To Me' has a fast, (RECKLESS INTEN- others as lesser. The vo- much heavier in places fectly. In fact, just take a lis-
syncopated riff driving the TIONS) cals are clear as a bell with some deft ballad ten to the original versions
song; '1992' is a cynical, Reckless Intentions throughout with some good touches, drawing in punk, if you are not already famil-
true, but tongue-in-cheek are an upcoming pop-punk harmonies, and the overall indie, both Japanese and iar, you’ll know doubt agree
account of their sudden band from the UK. Taking performance is polished melodic rock, and a de- that Chris’ voice and Black
success and fame that inspiration from a range of and accomplished. Worth a cided folk rock flavour from Stone Cherry as a whole,
year before the record bands from The Clash listen. the character and elegance were made to take them
company lost interest in through to All Time Low, YYYY of the flute. Add to this the on.
them; and album climax, their sound borders more Clare Huckett fact that Vitne has a clear, YYYY
'Be Kind', is a fantastic, real on punk than pop. This effortlessly expressive Penny Gower
ALBUMS