Page 42 - Black Velvet Magazine Issue 98

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much there to support it. ‘England’s Dreaming’ send hit you the hardest when the hard times while the
But with a voice as good as chills down the spine with the music is stripped back stripped-back ‘Heart Of
his it is a justified decision an omnipresent feeling of a little but instead it loses Novocaine’ is vulnerable
and, as a result, there are danger created by the lay- some of its impact, sug- and heartfelt. The catchy
several excellent songs on ering of clashing instru- gesting that his guitar play- ‘White Dress’ kicks some
the album such as ‘Deep ments. As a tenseness ing is the source of its ass; reminding you that
End’, ‘As You Are’ and the grows, we reach a climax power. This isn’t always the you shouldn’t live your life
album-concluding ‘White when the instruments drop case though, as ‘The Let- trying to fit someone else’s
Flag’, all being sensational, out to expose a desolate ting Go’ is proof that he can expectations of who they
Chris’s voice carrying a ‘Bury me’, before a wall of nail a more stripped-back think you should be. Just
sublime mixture of power sounds smashes into you song with the same oomph be you, be who you want to
THE MAGPIE SALUTE and vulnerability in the with even more anguish and emotion as the more be. The attitude goes up
HIGH WATER I lyrics which should trans- than before. The caustic ‘If power pop songs in his ar- another notch during title
(PROVOGUE/MASCOT) form superbly when per- I Can’t Have It No One senal and with his near- track, ‘Vicious’; it’s defiant
Rich Robinson re- formed live. A lack of Can’ sets your heart pump- death experience inspiring and confrontational. They
unites with old comrades variety among the ten ing as it bulldozes through him to dedicate his life to close with a beautiful
for this debut studio album. songs means when lis- with an admirable fearless- making albums we can acoustic number, ‘The Si-
Fellow Black Crowes gui- tened to as a whole they ness and confidence, as only hope he has the time lence’, a reflective love
tarist Marc Ford and can become a little repeti- attitude drips from every to master this side of his song reminiscing about
bassist Sven Pipien join tive. While ‘Cage To Rattle’ scream and riff. There is an craft as when he does the days gone by. Lzzy can
forces with Hookah doesn’t exactly rock the overarching dark atmos- results will truly be remark- scream her heart out and
Brown’s John Hogg, and cage, there are times when phere throughout this able. sound awesome doing it,
Robinson’s keyboardist the tempo steps up suffi- album, but within this, each YYYY but hearing her voice when
Matt Slocum and drummer ciently to shake it a little; track explores its own anx- she sings ballads causes
Joe Magistro from his solo ‘Backbone’, ‘Death Of Me’ ieties and worries, deliver- goosebumps. ‘Vicious’ is
records and tours. And and ‘Bad Habits’ carrying ing 13 tracks that are exactly what you would ex-
what a mighty reunion it is. an infectious pop beat connected yet independ- pect from Halestorm. It is
We’ve got swaggering rock which makes them stand ent. Emotionally charged, empowering, it is bold, it is
‘n’ roll, psychedelic blues out on the album and are ‘Welcome To The Neigh- sleazy and it is sassy.
(opener ‘Mary The Gypsy’ catchier than a common bourhood’ is an album that YYYY
is a trippy and wonderful cold, helping to make this will ring relevant, now more Penny Gower
example), and masterful an album you’re likely to re- than ever.
storytelling, some of which turn to time and time again YYYYY
is intensely personal. when you’re after some- Athena Kam
Hogg’s perspective of thing a little more relaxed, Michael Coventry
growing up of mixed but not one you’ll have on BRIAN BARNHOUSE
African and Swedish de- continuous play. SIGN OF LIFE HALESTORM
scent is shown in the YYYY (BRIAN BARNHOUSE) VICIOUS
stripped-down, bluesy Michael Coventry ‘Some people don’t be- (ATLANTIC)
‘Color Blind’. ‘Take It All’ is lieve in miracles’ is an ap- Halestorm’s fourth stu-
a sleazy, blues rock high- propriate opening line for dio album could have been
light, filled with swaggering Brian Barnhouse’s second so different had Lzzy, Josh,
attitude and instantly addic- full-length album which Joe and Arejay taken the CIRCLE OF CROWS
tive. Closer ‘Open Up’ is a comes a few years follow- easier route and released EVERYTHING COMES
beautifully crafted slow- ing a heart attack and a the batch of material they AFTER ZERO
burner. Taking as its prem- quadruple bypass to stay had originally prepared. In- (CIRCLE OF CROWS)
ise someone who has been alive, something some stead, the quartet knew These guys are noth-
closed off for a lifetime would consider a miracle in they had more in them, so ing if not ambitious.
slowly awakening to the itself but his ability to pro- they scrapped everything Formed in Spring 2017,
world, its vocal builds from duce music of this standard and started again. While they spent 5 days in the
a single voice into har- is not a miracle, it’s a gift. we will probably never studio last summer, and
monies as the instruments BOSTON MANOR The singer, songwriter and know how the discarded the end result is – this. It’s
develop with a glorious WELCOME TO THE guitarist wastes no time in material matched up to the an astonishing achieve-
solo guitar melody coming NEIGHBOURHOOD letting his audience know end result, what we do ment for a debut 6-track
in late. It’s a stunning con- (PURE NOISE) what they are in for know after hearing ‘Vicious’ EP. Opener ‘How To Wait
clusion to a brilliant album. Blackpool quintet throughout ‘Sign Of Life’ as is that it will give Halestorm For Nothing’ serves up a
YYYYY Boston Manor have let go the aforementioned lyric another big step forward in mixed platter of heavy gui-
Clare Huckett
of all their emotions in their from ‘One In A Million’ their career. Choosing the tars, foot-stomping
sophomore album, ‘Wel- comes in the opening sec- frenzied ‘Uncomfortable’ as rhythms, a funky bass line
DAUGHTRY come To The Neighbour- ond of the track and imme- the lead single was like a and bass solo, lyrical
CAGE TO RATTLE hood’, resulting in a piece diately you are grabbed by warning shot. Frontwoman angst, and changes in
(RCA) of work that is sure to stay his silky smooth vocals Lzzy Hale has always been pace and tone, including
Much has happened in with you for a long time. which are massaged near open and honest in her almost smooth jazz in the
the five years since we last Brooding and ominous, the perfectly by his power pop- lyric writing; some of the quieter moments. Incredi-
had new material from band push their creativity rock style of guitar playing. topics she writes so freely ble. ‘Into The Sun’ is a
American Idol star Chris and experiment. Opening ‘One In A Million’ is a great about can make some peo- straight ballad-type, more
Daughtry and his band- title track ‘Welcome To The start to the album but the ple uneasy. Sex and addic- optimistic and uplifting in
mates but ‘Cage To Rattle’ Neighbourhood’ introduces second track, ‘Your Song’, tion are featured quite tone, while title track
confirms little has changed the forlorn atmosphere that is even better, brilliantly heavily over the course of ‘Everything Comes After
for Daughtry, although presides over the rest of blending a mix of paces to the album; ‘Buzz’, ‘Do Not Zero’ has a jarring intro and
what they do remains of an the album, as tense elec- the song, showing his mu- Disturb’, ‘Conflicted’, is far more aggressive in its
excellent standard. Rock tronics wash over you. In sicianship and vocal talents ‘Painkiller’. Aside from take-no-prisoners lyrics,
music comes in many ‘Flowers In Your Dustbin’ to the best of their abilities opening track, ‘Black Vul- heavier guitars and thun-
shapes and forms and at unnerving high guitars wail as well as Brian’s crafts- tures’, a powerful anthem dering drums. What a
the far end of the scale is over heavy bass tones, manship to writing a song. about survival, the main debut - vocals, instruments
where Daughtry has found and a feeling of agony and Slower grooves ‘Best Of highlights of the album all and writing are all high cal-
home in recent times. It’s desperation thrums Me’ and ‘Smooth’ fail to come after the halfway ibre. This is modern rock at
safe to say the main instru- throughout. Dissonant gui- click and it’s hard to pin- mark. The gutsy ‘Killing its finest.
ment in the band is Chris’ tars linger while harsh point why. Brian’s voice Ourselves To Live’ is about YYYYY
voice and the band is very screams punch through. seems perfectly poised to sticking together through Clare Huckett

ALBUMS