BUCKCHERRY

VOL. 10

Buckcherry are one of those iconic glam-punk/ sleaze-rock bands that just never seem to stop. Lead singer Josh Todd (who became a phlebotomist during the Covid pandemic) first formed the band in 1995. The band went on to release two albums in 1999 and 2001, before dissolving in 2002. Seven years later, Todd resurrected Buckcherry and they have just kept going, proving that anything made with passion will endure.

Vol 10, as the name implies, is Buckcherry’s tenth studio album to date, and is just as hard rocking and bouncy as when the band first formed. Whilst some bands evolve over time, Buckcherry are one of the few groups that remain true to their roots.

Little has changed for Buckcherry; they still play fantastic music and Josh Todd’s vocals remain just as brutally perfect. Their songs often convey a strong sense of longing, underscored by sadness, such as for lost friends and lives cut short. This blend of beauty and despair remains evident in their latest album. Whilst none of the tracks on Vol 10 reach the heights of ‘Crazy Bitch’, there are still some fantastic songs to be found on the album.

Vol 10 feels a little over-produced at times, thus losing some of the rawness of classic Buckcherry. That said, this is a band that always is best to experience live, as their music will be as raw and undiluted as intended.

Words by Peter Ray Allison

Winger Seven

Kip Winger and his deliciously 80s hard rock troupe return with their seventh studio album, ‘Seven’. Whilst on the nose in name Winger’s first release since 2014 is a fine demonstration of time well spent with the twelve-track listing rooting its tendrils with that classic Winger sound atop of some killer modern tinges. Featuring all four original members and new edition John Roth on guitar it’s more a hark back to 90s Winger with the opening track ‘Proud Desperado’ engulfing itself in a heavyset beat with a smattering of post-production features that pushes it out into that wider stadium feel.

Softer numbers ‘Broken Glass’ and ‘Do or Die’ are bookmarked by some fiery tracks that owe themselves to Winger’s head honcho doing what he does best. ‘Resurrect Me’ stands out with a gorgeously crescendoed undertone and a rock chorus backing that only adds to the lead vocals. Though the album still grasps on to what will keep die-hard fans happy there’s a slight deviance into an almost blues-inspired movement with ‘One Light to Burn’ but with always enough hair metal glow within the tones.

In a backwards move, the LP ends with the first released single, ‘It All Comes Back Around’ which is no less a spot-on ending that leaves space for the songwriting to be drawn out above the sound in a pure 80s influence. High energy, higher notes, it may be another good few years before they top this rip-ride of new Winger classics.

Words by Monty Sewell

Burning Witches The Dark Tower

Burning Witches cast a spell with their fifth studio album The Dark Tower. Their debut release with Napalm Records is a very impressive piece of work, to say the least. A point proven by ‘Unleash The Beast’ which they certainly do as this beast bares its teeth and claws on wild thrash metal. Riffs are unrelenting, as is the tumultuous drum cavalcade and banshee-delivered lead vocals that precede the opening track ‘Rise of Darkness’, a gently strummed brief intro with an angelic chanted vocal.

Other choice cuts include ‘Renegade, a NWOBHM-tinged pounder that romps and stomps seismically on sturdy riffing and a lungthreshing vocal. The rage doesn’t let go as ‘Evil Witch’ is a raging slab of pit opening thrash that ticks all the boxes from a superhuman drum assault, razor-sharp guitars, and powerfully chanted choruses.

An earworm-tapped guitar intro for ‘World on Fire’ lights the fuse for proto-power metal that hits new levels of brutality in the Armageddon inducing choruses and galloping outro.

‘Tomorrow’ is not just a ballad but a magnum opus that rises and falls on a heartbreaking vocal, laid-back grooves that include soft guitar lines, ending on a hope-giving message. ‘House Of Blood’ is a one-minute spoken word intro to the album title track. A lengthy guitar-heavy grind heads off into thrashtastic verses and chest-beating choruses of “Lock, lock, lock them in the tower”.

‘Doomed To Die’ is a thrilling thrasher to ignite any crowd, a major rager of the highest order and one last assault to our hearing comes from album closer

‘The Lost Souls’. Another kick drum battery pins down rhythms to lose our minds to as it’s like being in the eye of a hurricane, backed by a vocal so evil, it should be exorcised!

Words by Dennis Jarman

Art Nation Inception

This Swedish band from Gothenburg started out in 2014 and after two albums, the 2015 debut ‘Revolution’ and ‘Liberation’ in 2017, the band’s founder members, frontman Alexander Strandell and guitarist Christoffer Borg, parted ways. After the third album in 2019 ‘Transition’, the band took a hiatus, mainly down to Alexander’s health. The good news is that after four years, Art Nation have returned, with Christoffer back on guitar and friendships reaffirmed, they are ready to put past differences behind them and are now stronger than ever.

The first track and initial single ‘Brutal & Beautiful’ swirls in with an electrifying riff from Christoffer. Alexander’s vocals are sharply immaculate, furiously keeping in time with the axe-wielding guitarist, who plays a stunning solo. ‘The Last of The Burned’ trickles in with more ruggedness, the flowing melody with bassist Richard Svärd and Alexander Lundgren on drums, is only interrupted with more stupendous fret licking from Christoffer. ‘1001’ and ‘Echo’ will also be released as singles. The latter is so atmospheric, Alexander S excels himself.

There’s a track called ‘Break Up’, that explodes with a hook and it’s easy to join in with the uplifting chorus. One of the most captivating on the album is ‘Light The Fire’ which pumps with energy and simply rocks. ‘Somewhere I Know I Belong’ has strength with lower underpinning from Alex Lundgren’s drums. ’Superman’ pings, moving up and down octaves, that the singer must relish. The final song ‘Powerless’ sees the only true ballad on the album.

It’s brilliant to learn that Art Nation are back. The band have so much to offer, and Inception proves just that. It has taken a while, but past experiences have taught the Swedes that there is nothing like true friendship and when you can use that to make such divine music, it’s the icing on the cake.

Words by Diane Davies

Neal Schon Journey Through Time

With the pantomime surrounding inner and outer band relationships in Journey, this live release of Neal Schon’s Journey Through Time San Francisco show, from 2018, is a timely reminder of their everlasting elite class of AOR music selling over 100 million units!

Being a benefit show for victims of the fires that raged through and ravaged the North Bay area of SF in late 2017, Schon reunited with original, and former fellow Santana band member, Gregg Rolie to rip through the choicest cuts from Journey’s extensive discography. Also involved is returning Journey member Deen Castronovo on vocals and drums, Marco Mendoza on bass, and John Varn on keyboards and vocals.

Mainly focusing on the band’s ‘70s repertoire, especially their first three albums, “Journey”, “Look Into The Future”, and “Next”, this soldout audience were lapping up this rare treat of thirty-one songs that also included Lovin’, Touchin’, Squeezin, Wheel In the Sky and universally known song Don’t Stop Believin’. The real surprise is the inclusion of Santana songs Black Magic Woman Oye Como Va on which Schon and Rolie musically stretch out revealing the fine chemistry shared by these veteran band originators. It’s been quite a wild ride for Journey who continue making headlines...

Words by Paul Davies

The Defiants Drive

For lovers of heavy melodic rock, The Defiants can be described as not only members/ ex-members of Danger, Danger, but an international supergroup. Together again after four years for this third album ‘Drive’, vocalist Paul Laine, who was with DD for eleven years, is reunited with guitarist Rob Marcello, whose brother is Kee of ‘Europe’ fame and bassist Bruno Ravel, who was also in ‘White Lion’ for a while. On drums this time is Van Romaine who has a bio which is as impressive as it is long, having performed with stars, ranging from ‘Enrique Iglesias’ and ‘Pitbull’ to the ‘London Symphony Orchestra’.

The song ‘Hey Life’ released as a single in early April, is a phenomenal introduction to this band. The guitar shudders with a riff that takes your breath away and Paul’s voice has extraordinary power. Van’s beating is high in the mix, so you are subjected to a full-on sound that you only hear from the best production, so it’s incredible to learn that Paul and Bruno also produced ‘Drive’.

‘Miracle’ is a ballad with beautiful harmonies and a melody that allows you to float away without a care. A track of complete contrast is ‘So Good’ which picks out Bruno’s bass and some epic rich tones. ‘The Night To Remember’ is a rock anthem, standing loud and proud, again full of richness, while the eleventh and last track ‘Nothing’s Gonna Stop Me Now’ has blasting guitar interlocking with vocals, on a pristine level.

A band consisting of a Canadian, Swede and two Americans, The Defiants live up to their name and defy any international obstacles, the result is a new album that turns back time, to those heady melodic days of the 80s, but with renewed zest and 21st Century overlays.

Words by Diane Davies

Enforcer Nostalgia

Baton down the hatches as Enforcer returns with their sixth studio album Nostalgia, released via Nuclear Blast Records on May 5th, 2023. Formed in Arvika, Sweden 2005, these thirteen bangers see them at the top of their game. A point proven by the brief ‘Armageddon’ - an instrumental with tinges of ‘Tubular Bells’ for a call to battle-like feel.

Other choice cuts include ‘Unshackle Me’ - a track which is no frills heavy metal that quickly breaks free from its bonds. The vocals are melodic but also menace as riffs strafe away over a sturdy drum pound and 24-carat quality guitar solos raise the bar even higher! Banshee screams open up with ‘Coming Alive’, hurtling along on seriously fast and furious rhythms that don’t pause for breath. This song lives up to its title hands down as finger-blistering solos fly off the fretboards, breaking the speed of sound.

A smooth intro for ‘Heartbeats’ eases into hefty heavy hard rock. Steadfast dynamics give off a metronomic feel until it heads off into the fast lane for tarmac melting speed and a roughedged vocal. ‘Demon’ is mid-paced thrash metal that summons up from hell. They take no prisoners for the power metal of ‘Kiss Of Death’. The pace doesn’t waver as it zooms along on a kick drum assault of epicness as Nirvana is reached by twin lead overload.

‘Nostalgia’ is a four-minute power ballad that doesn’t outstay its welcome as its gently strummed intro adds a shimmering vibe towards a heavy outro of histrionic screams.

The album closes with a bang as ‘When the Thunder Roars (Crossfire)’ sees the spirit of NWOBHM taken on by Enforcer to let it flow through their veins as they go for the kill with an outstanding performance to end the album on a high.

Words by Dennis Jarman

The Dust Coda Loco Paradise

The Dust Coda drop their next offering of off-the-hook rock ’n’ roll railing with the album ‘Loco Paradise’. Following up after 2021 LP ‘Mojo Skyline’ the boys are back at it again with more fist-to-sky hard-hitting attitude and a few cooler tones chucked into the mix with sincere tracklisting composure.

The opening song and first released single ‘Road To Hell’ is a vision board of how the album plays out in both theme and feel. It’s a war cry and nothing short of meaning business. Those soaring vocals of Josh Drake are as good as they’ve ever been with the entire album demonstrating his stronghold as one of the finer singers of this generation. ‘Call Out The Dogs’ and ‘Rock ’n’ Roll Paradise’ are the obvious anthemic riff chuggers whilst the last track ‘It Won’t Be Long’ is the suitable cool-out wrap-up.

Adam Mackie on lead guitar pulls some sterling solos out of the bag without taking away from the core magnetism of the band which lies in their songwriting. ‘Loco Paradise’ hits that sweet spot between 70s hard rock and a larger scale of production which comes together to form something to please many. It’s high-quality craftsmanship to hear the entire band come out in each song with Scott Miller snipping in drum licks in ‘Love Sick’ and some prominent bass work from Tony Ho. An all-around all you can eat ten track feast which will no doubt see The Dust Coda step further into a reign of their own.

Words by Monty Sewell

Black Roze Penny For Your Sins

Taking three years to complete ‘Penny For Your Sins’ is not only eleven tracks of differing genres but there’s also a reflection on past experiences. Each song has been written with amazing insight, recognising, and overcoming the hardest of situations, thus creating a journey for us to follow. This sophomore album from the Kent rockers is in their words ‘a rock version of our confession booth... an outpouring of our deepest darkest thoughts, deeds, and desires’.

The title track starts the proceedings. A tale about the allure of addiction, it’s loud and forthright rock. Viixen epitomises how a female vocalist should hammer out her lines and Baz Roze delivers screeching guitar. Sleazy does it for ‘Give Yourself to Me’ shifting into the gutter for some dirty exposure.

‘Hit Me Up’ retains the grime, is provocative and has a hell-bending rhythm, this is just delicious.

Viixen was hospitalised, having a lifethreatening illness back in 2020. The idea for ‘Devil’s Door’ was a result of those deathdefying days. It’s a sorrowful and melancholy track, that releases all those past fears. ‘Wake Up!’ is a zany number, with plenty of off-the-wall vocals and bouncy chords, that could bring anyone out of dreamland.

‘Burn It Down’ will be familiar territory for Black Roze fans, as it came out as a single in March 2022. The ballad ‘Footprints in The Sand’ is evidence of the band’s dexterity, a heart-warming piece full of warmth. ‘Not Your Whore (Anymore)’ from 2021, is a favourite that’s often played live. I hope the newer single ‘Poison Voices’ also stays on the setlist, as it’s a remarkable song and Baz lights up the frets yet again.

The bonus track ‘Curse of The Black Roze Part 2’ is an acoustic gem, very much in the ‘Stevie Nicks/Fleetwood Mac’ vein. Black Roze have put together a gorgeous album.

Words by Diane Davies

Elegant Weapons Horns For A Hallow

When it comes to creating a band with a group of famous musicians, it’s an immutable fact that expectations will be sky-high. Plus, if the right calibre of players sparks a creative reaction from each other then, surely, the end results must be as good as the sum of their fiery parts. Fans need not worry. This is as spectacular a record as one can hope to expect from the combination of Judas Priest’s Richie Faulkner and Scott Travis; Pantera bassist Rex Brown; and ex-Rainbow frontman Ronnie Romero. By weaponising these compositions, from Bitter Pill’s starting gun, with a scudding sonic attack, there’s an almighty nuclear blast in the fusion of quality songwriting and their sizzling execution. Initial single, Blind Leading The Blind, alerted the metal masses to this formidable army of songs arranging themselves on their listening horizon.

Horns For A Halo is an emblematic album title, and as a title track, it’s a saintly slab of feral metal, for the extremely good heavyweight serried rank of songs delivered with a hefty measure of menaces. The brainchild of Judas Priest guitarist, Richie Faulkner, he leads this pack with adrenalised power as former Rainbow singer, Ronnie Romero, reveals his best studio album vocal performance yet across these ten tracks. As Downfall Rising, Dirty Pig and the smouldering slower-paced The Ghost Of You adds a touch of class and further proof to there being plenty of live bangers waiting to explode in venues across the globe. There’s no sign of snagging as they swiftly move up through the gears throughout this wild ride. A snarling cover of UFO’s Lights Out confirms this and EW’s well-chosen influences and unrivalled metal supergroup provenance.

Words by Paul Davies

Cradle Of Filth Trouble And Their Double Lives

Following on from their 2021 studio album, Existence Is Futile, Cradle of Filth release an absolute juggernaut of a live record featuring two brand new tracks to quench the ominously spine-tingling thirst that has lingered on our tongues since.

Alongside the sixteen live tracks recorded between 2014 and 2019 we’re gifted with a prelude to their next upcoming LP with new songs ‘She Is A Fire’ and ‘Demon Prince Regent’. The former rightly forefronts the track listing. An ultimate black metal mouth frothing testament to the band’s long-running reign as a British metal institute, ‘Demon Prince Regent’ similarly fires from behind, laden with a dirty riff chug and Filth’s uncanny screams.

As the live tracks go, after twenty years since their last offering it’s not only very much welcomed but even more so well played out. The gripping inclusion of audience cheers sets the tone and magnitude of their live performance’s with ‘Nymphetamine (Fix)’, ‘The Death of Live’ and ‘You Will Know The Lion By His Claw’ amongst the countless Cradle of Filth fan discography favourites. “Let’s see that fucking pit open a little bit there!” growls Filth in-between songs; the energy of the shows blaring out through the live version musical deviations.

Produced by Scott Atkins he takes on ‘Heartbreak and Seance’, ‘Haunted Shores’ and ‘Saffron’s Curse’ to name a few, only amplifying Cradle of Filth’s reminder of why the live version can sometimes be the best.

The record comes to us at the end of a Cradle of Filth era, signifying the start of a new. Transporting the listener back to the heart of the pit it rages out with a darkly delicious nostalgia topped with some stellar new material.

Words by Monty Sewell

THUNDER BACKSTREET SYMPHONY / LAUGHING ON JUDGEMENT DAY / BEHIND CLOSED DOORSVINYL REISSUES

When, in August 2022, news broke of Danny Bowes’ near death experience, the rock world held its collective breath. An accidental head injury led to a subsequent stroke and, for a while, the future looked bleak for the muchloved voice of Thunder. Nine months on and Bowes is back fronting his Planet Rock radio show, remembering how to walk again and celebrating a second chance at life.

So what better time to revel in the records that defined a career and confirmed the former Terraplane frontman as the best blues rock singer of his generation? Given a coloured vinyl gatefold reboot — and featuring a limited selection of bonus live cuts — Thunder’s first three albums have been lovingly reimagined and carefully curated. And while a rather impressive repackaging job is long overdue (expect the remainder of the band’s consistently spectacular back catalogue to receive the same treatment soon) it’s the songs that still sell these storied releases. What hasn’t changed three decades down the line is the impact of Luke Morley’s peerless songwriting prowess.

The architect of Thunder’s iconic canon is criminally underrated as a master of his melodic craft but his tireless work on the band’s explosive debut truly stands the test of time. Fusing elements of Bad Company, Led Zeppelin, Deep Purple and more with Terraplane’s poppier signature sound, Morley reinvented his former band as purveyors of the finest British blues rock.

And in producer Andy Taylor, the genius Geordie who’d made his name in Duran Duran and Power Station, Thunder’s lead guitarist discovered a like-minded creative who shared a bold vision for necessary reinvention. That Taylor revealed he was managing incurable prostate cancer just weeks after Bowes had diced with death adds a fresh layer of perspective to the bullish Backstreet Symphony. As a debut album, it’s a remarkably bold statement of intent from a band bristling with confidence.

And there’s no doubt Taylor’s canny production — coupled with Mike Fraser’s masterful mixing — played a key part in elevating best buddies Bowes and Morley to the next level. Listen again to the driving Dirty Love, evocative Higher Ground or the bashful ballad Love Walked In and it’s difficult to imagine Backstreet Symphony sitting anywhere other than atop 1990’s Best Of lists and flanked by myriad award nominations. In reality, a peak of 21 in the UK album charts barely reflected this game-changing record’s genuine influence within a newly energised British rock scene that had spawned the Quireboys, Gun, Little Angels, Dogs D’Amour, The Almighty and more.

Undeterred, Morley and Taylor joined forces again to co-produce 1992’s magnificent Laughing On Judgement Day and this time commercial success went hand in hand with a fresh surge in critical acclaim. Only Kylie’s Greatest Hits kept Thunder’s second album off the top of the charts as Bowes added his inimitable touch to the sassy Everybody Wants Her, brooding A Better Man and the titanic title track. No second album syndrome here then.

Not a chance. In fact, for all of Backstreet Symphony’s undeniable sheen, its superior follow-up was awash with frequent Morley flourishes so fabulous that the white and blue vinyl reissue feels a little tame. Emboldened by the success of Laughing On Judgement Day — and laughing in the face of grunge’s unstoppable rise — Thunder sought to up the ante on 1995’s Behind Closed Doors. Morley might have taken on sole production duties for the band’s third long player but he got the gang back together one more time: Taylor earned a writing credit on opener Moth To The Flame and Fraser served up a trademark mix out of Los Angeles’ Record Plant. Singles Stand Up, River Of Pain and Castles In The Sand all made their presence felt within the UK Top 40 and underpinned another reputationcementing tour de force from the irrepressible Londoners.

Within the space of six years Thunder — thanks to Morley, Taylor, Fraser et al — had nailed a flawless studio sound that would become synonymous with the band’s music for decades to come. But Bowes, in particular, only truly came alive belting out those classic tracks in sweaty clubs and on vast festival stages the world over. So the decision to spread 10 live tracks across these three reissues is the added bonus every long-time fan craves and deserves.

Highlights include a version of Python Lee Jackson’s In A Broken Dream (recorded at Japan’s Club Citta in 2000), Gimme Some Lovin’ (from Nottingham’s Rock City in 2008) and Like A Satellite (live from Shepherd’s Bush Empire in 2007). Bowes is in his element breathing new life into these stirring live staples and it’s a blessing that Thunder’s talismanic frontman lives to fight another day.

Whether Danny boy makes it back to where he belongs — behind the mic and flanking best mate Morley — remains to be seen but revisiting three treasured records offers a timely reminder of a precious legacy.

Words by Simon Rushworth