Page 49 - Black Velvet Issue 94

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NUCLEAR LULLABY standing of rhythms, har- terestingly, the song in- harmonising. More exuber-
KEPPOCH 59 monies and lyrical structure cludes the line, ‘I don’t antly, ‘Old Enough To Rock
(NUCLEAR LULLABY) that many bands twice their mind being second when it N’ Roll’ goes more for the
Broadly under the age can’t match. ‘Shattered comes to you’, but based hair metal style of celebra-
heading of alternative rock, Heart’ is a phenomenal on this, The Cruel Knives tion of the music and the
South Wales foursome Nu- pop-rock track with a de- are likely to settle for noth- lifestyle, while the uptempo
clear Lullaby have a fairly ceptively simple vocal and ing less than first best, and, ‘Be My Girl’ is more
laid-back vibe and favour big choruses, whereas ‘Un- in all honesty, they deserve melodic and is one of the
variety in their music. mendable’ pulls off the feat nothing less. ‘Kill The Mes- stronger tracks on the
Opening track ‘Upgrade’ of being completely infec- senger’ offers the same album, alongside ‘Magic
edges towards grunge, be- tious whilst also that bit kind of build-up as ‘Itch’, Spell’ with its heavier,
JANET GARDNER ginning with the gentle heavier. The layering of in- but it is perhaps a more grinding guitar rhythms.
JANET GARDNER strumming of the guitar and struments and rhythms on controlled song, but the re- There’s even a political
(PAVEMENT) an easy drum beat before ‘Survive’ is near perfect, sults are equally impres- viewpoint in ‘Smashed
Back in the late 80s, switching to a bigger full while the dramatic power of sive, while ‘Squeeze’ gives American Pie’, a great clas-
all-female band Vixen band sound and slightly piano-led ballads ‘Black the listener another bit of sic hard rocker with a mes-
came to the public’s atten- anguished vocals. It chops Holes (Don’t Hold On)’ and variety to the hard rock sage about the state of the
tion, bursting into the and changes between the ‘Show Me The Light’ is ex- theme of the EP and with it US. Maybe not the most
charts with melodic rock two, giving feelings of calm traordinary. The Warning produces a rather clever original of albums, but it’s
hits such as ‘Edge Of A and tempest. Similarly, are an incredible trio, with highlight of ‘Side One’. worth checking out.
Broken Heart’ and ‘Cryin’’ ‘Beautiful Mess’ has a re- a fantastic musical sensibil- Tom’s vocals take centre YYY
and impressing with their laxed start but revs up the ity and depth, and out- stage, but the musicianship Clare Huckett
live shows. Sadly, the band energy as the track pro- standingly good of his bandmates not only
split due to musical differ- gresses. By contrast, performances. An absolute lends great support, but ac-
ences shortly before ‘Zeus’ is a flashback to the must listen. tually bolsters his singing
grunge hit the scene in the slightly trippy, psychedelic YYYYY talent even further, lending
early 90s. The band later vibe of the late 60s and Clare Huckett it extra power before the
reformed, although found- early 70s, while ‘One Of rest of the band enjoy their
ing member Jan Kuehne- Many’ is more of a straight- moment of glory in yet an-
mund sadly passed away forward rocker, still playing other memorable instru-
after a battle with cancer a with tempo and mood mental. The EP wraps up
few years ago. Now, lead changes but throwing in a with ‘The Promised Land’,
singer Janet Gardner has decent extended guitar which is the closest thing to
released her debut solo solo for good measure. a dance track The Cruel
album, and it is proof that, There’s lots of playing with Knives have produced JON STEVENS
like fine wine, she just styles, a good amount of here, and while still bring- STARLIGHT
keeps getting better. With instrumental input, includ- ing hard rock to the mix, it (BMG)
musician husband Justin ing some appealing bass also injects more variety to If you’re looking for
James by her side, the duo rhythms, such as on bluesy THE CRUEL KNIVES their song set while guar- some classic soft rock fu-
show that they’ve got their closer ‘Nuclear Lullabies’, SIDE ONE anteeing any audience will eled with emotion and soul,
finger on the pulse as the and plenty to keep the in- (THE CRUEL KNIVES) be moving in time to its then you have come to the
10-tracker has a modern terest. The production While the break-up of beat. And this makes it all right place. ‘Starlight’ is Jon
rock feel. Opening number, might be a bit rough round Heaven’s Basement was the more disappointing Stevens’ tenth studio solo
‘Rat Hole’, is a real butt- the edges but it suits them an undeniable disappoint- that, at just shy of 20 min- album, and the follow-up to
kicker, packed with punchy, well. ment, the meals that have utes when ‘The Promised ‘Woman’, released in 2015.
venomous energy and YYYY been cooked up in the af- Land’ reaches its end, we It is heavy on soul, melody
feisty fervour. Razorblade Clare Huckett termath are proving very hear the instructions of and positivity. From open-
guitars introduce us to ‘Hip- tasty. Former guitarists Sid ‘This concludes side one, ing number, ‘Hold On’,
pycrite’, a down-and-dirty Glover and Rob Ellershaw to continue listening please you’re taught to be strong.
rock revel. ‘If You Want Me’ show fans what they have flip to other side,’ but of ‘You’ve got one life, don’t
is the first real parallel to been cooking up in their course there is no side two. you waste it,’ Jon com-
classic Vixen, as Janet’s kitchen with The Cruel Well, not yet anyway, but mands. ‘Oh Lord’ has a
vocals take flight over fields Knives’ debut EP, ‘Side ‘Side One’ will leave you funky feel, with Jon almost
of melody. An uptempo One’. The energetic hard eagerly waiting for its ar- sounding like a veteran six-
drumbeat signals the start rock which Heaven’s Base- rival and surely that is the ties soul sensation, while
of ‘Candle’, a deeper, ment was best known for is job of any good EP. ‘Feel Like Letting Go’ has a
heartfelt number written fol- more than evident from the YYYY more melancholy and raw
lowing the death of Janet’s second note of opening Michael Coventry air, and with elegant strings
parents, as well as Jan. song ‘The World We Were as the song progresses
“It’s just not fair, I need you THE WARNING Sold’, where the aforemen- BOTTOMS UP that give it an added
here,” Janet sings. ‘Your XXI CENTURY BLOOD tioned guitarists explode EVERYBODY ROCK N’ bloom. ‘Something ‘Bout
Problem Now’ goes for a
(THE WARNING) out of the starting blocks at ROLL You’ is a duet with Vanessa
harder edge again, while The Warning display an electric pace, which is (BOTTOMS UP) Amorosi, possibly too soul-
‘Let It Be Over’, is the most an astonishing amount of more than matched by vo- Featuring rock veter- ful for rock fans, while Jon’s
socially-conscious song on maturity and skill with their calist Tom Harris and the ans, Bottoms Up know how son Levi surprisingly raps
the album, seeing Janet writing and performance – EP hardly slows down until to do the classic hard rock in ‘All About The People’,
sing ‘Mowing down kids in astonishing because not it’s over. One of the EP’s of the 70s and 80s. Starting another positive and
the classroom’ and ‘Build- only is this album of 13 highlights comes shortly off with ‘Throwin’ Me Away’ gospel-ish song that shows
ing big bombs, killing ba- catchy pop-rock songs in after with second track, and the infectious rhythms all styles of music can fit to-
bies and moms, why do so their second language, but ‘Itch’, which opens with a and big licks are right gether. Co-written and pro-
many have to die?’ All ten also that not one of these blindingly broody bass gui- there. It has a very familiar duced by Dave Stewart
tracks on the album are three sisters has hit the tar beat, which slowly feel to it, right down to the and also featuring Ringo
solid rock tunes, and when age of 20. Properly catchy builds with the introduction shouty gang vocal of the Starr on the piano-driven
you reach the end you’ll be songs are difficult because of Tom’s vocals and again chorus, so while it’s brand ballad, ‘One Way Street’,
wishing this album wasn’t they can easily fall flat or when Sid’s electric guitar new there’s a nostalgia fac- ‘Starlight’ is a beautifully
over and will want to hit be overly simplistic, but adds its weight, but truly tor too which is appealing. written and constructed
play again and again. that’s not the case here. explodes when Al Junior The mid-tempo, wistful ‘I album.
YYYY Starting with title track ‘XXI lets rip with his drumsticks, Don’t Know My Name’ is YYYY
SBV
Century Blood’ they offering perhaps his finest blissfully melodic with a SBV
demonstrate an under- contribution to the EP. In- lovely bassline and good
ALBUMS