Album Reviews

REVIEWSAlbum

RORY GALLAGHER

DEUCE 50TH ANNIVERSARY EDITION

What is the deuce going on here? A 4 CD box set of Rory Gallagher’s second album, from his remarkable and distinguished discography, with alternate takes, home demos and contemporaneous radio recordings is what’s going on inside this pleasure treasure just waiting to be devoured by any Rory or blues fan of whatever stripe (blue). This second (natch) release of the 50th-anniversary editions finds the original album of songs polished up like a suite of sapphire songs that sparkle even brighter with Gallagher’s raw approach - needing only one or so take to keep his live sound in the studio - thrilling on this edition.

Initially released in November 1971, six months, or so, on from his debut which followed his ear-catching time in Taste, with hindsight it wouldn’t have been a surprise if most established and aspiring blues guitarists had submitted a letter of resignation to the Musician’s Union and wandered off in a quest for a different muse elsewhere. Rory is on fire from the instant Used To Be shin kicks its way out from the speakers to the final album track Crest Of A Wave, all of which are further exposed with numerous versions: twenty-eight alternate takes of the album’s songs alone. The joy is that the listener also gets to hear a cache of these tracks live in concert from Bremen and The Paris Theatre. However, the magic is in the home demos that place the purchaser in the room with Rory. Available in multiple formats to suit the wallet and purse of all Rory fans, what the deuce are you waiting for?

Words by Paul Davies

THE COMMONERS

FIND A BETTER WAY

Canadian outfit The Commoners are set to make a mark on Southern rock on November 4th with their full-length album Find A Better Way.

Find A Better Way is a brilliantly done album. From beginning to end, this album had my complete attention. The title track was mixed by legendary producer Kevin Shirley (Journey, Iron Maiden, Rush, Joe Bonamassa, Beth Hart, Tyler Bryant, Mr. Big, Europe, etc.) and talk about a way to leave a lasting impression! It didn’t stop at the first track either. The entire album played through with a nostalgic feel of the 60s and 70s. Eras long past yet relevant to this genre today as listeners crave music that’s meant to make them feel something and enjoyed without any pretence.

The Commoners’ sound is gritty blues rock, with hypnotic melodies, and dare I say at times, even a tad psychedelic. The foundations of their music are solid and show their prowess for writing and composition matched with production. The harmonizing backing vocals add rich depth that fills up the spaces you wouldn’t have given thought to without them being there but make you pay attention to them with their addition as they round out the sound. This is the kind of album that will be enjoyed for many years to come.

I feel this album fits alongside albums from other up-and-coming bands in this genre like Tyler Bryant & The Shakedown and Joyous Wolf who’ve been making a mark across the generational gap with their music and exceptional album releases over the past ten years. Much like the albums of the aforementioned, I couldn’t find anything I didn’t enjoy in Find A Better Way. This is an album you do not want to miss.

THE PRETTY RECKLESS

OTHER WORLDS

This latest offering from American postgrungers, The Pretty Reckless, comprises an eclectic mix of covers, collaborations, remixes and more. With contributions from Soundgarden’s Matt Cameron, multiinstrumentalist Alain Johannes and pianist Mike Garson, The Pretty Reckless offer up a unique take on both their own and others’ music.

From the opening track, the stall is set out with a laid-back electronica and synth-heavy take on Got So High from their 2021 album, Death by Rock and Roll. Followed by a cover of Loud Love from Soundgarden’s second studio album, Louder Than Love. Taylor Momsen’s unique vocals are an incredible alternative to Cornell’s original in a wonderfully faithful rendition of a classic tune.

The Chris Cornell theme continues with a cover of The Keeper, written for the movie Machine Gun Preacher. In this case, the guitar part was handled by Alain Johannes, a founding member of Eleven and who collaborated with Cornell himself in the late 90s. Long-time Bowie band member Mike Garson provides his immense talent in the form of a haunting piano movement to a cover of The Thin White Dukes’ Quicksand.

Acoustic reworks of songs from Death by Rock and Roll mostly fill out the remainder of the release with re-workings of 25, Only Love Can Save Me Now, Death by Rock and Roll and Hayley Darling.

Interspersed with these is a cover of Soundgarden’s Halfway There, featuring Matt Cameron on guitar and vocals and a strippeddown, acoustic cover of Elvis Costello’s (What’s so Funny ‘Bout) Peace Love and Understanding before rounding out the album with the original version of the opening track, Got So High.

This album is very much a love letter to the talent and influence of the late Chris Cornell, as well as giving some thoughtful makeovers to their previous work and is an absolute must for any fans of either The Pretty Reckless or Soundgarden.

ROBERT JON & THE WRECK

WRECKAGE VOL 2

So many bands, so little time. A point proven by not noticing Orange County, Californiabased Southern rockers Robert Jon and The Wreck sooner. My introduction to them was the uplifting single ‘Oh Miss Carolina’ taken from their Last Light On The Highway album, which was released on May 8th 2020. When I reviewed the release, it opened my mind to a genre I’m not used to, and my interest increased more by reviewing the subsequent album Shine A Light On Me Brother the following year.

Fast forward to September 30th, 2022, and the release of the mind-blowing Wreckage Vol.2 album via KTBA Records. It’s a captivating tentrack collection of exclusive in-studio and live concert performances from 2020-22. The album opener ‘She’s A Fighter’ is power chord heaven as they kerrang with aplomb with added tasty guitar licks and instantly memorable choruses that follow a lung-busting delivery from frontman Robert Jon Burrison.

Other choice cuts come from the following tracks. ‘Waiting For Your Man’ was the first single taken from the album, and it pushes the volume levels into the red for another rowdy rocker. Lead guitarist Henry James flies up and down his fretboard like a man possessed. They slow things down slightly for the magnum opus ‘Rescue Train’, a bonafide heart melter and firstclass ticket performance of the highest order.

An early album highlight comes from a cover of ‘The Weight,’ originally released in 1968 by The Band. The new version is gospel-tinged, and a midsection of laid-back keyboards makes it even more serene. ‘Old Hotel Room’ opens with the soul-searching lyrics of “Got me this hotel room, cocaine and a minibar, got no one to share with, just me and this old guitar”. A beautiful ballad which I hope they’ll play on their forthcoming 2023 UK headlining tour.

Words by Dennis Jarman

HIGH CORNWELL

MOMENTS OF MADNESS

Widely viewed as a poet laureate of punk and new wave for his singular songwriting skills across genre-defining albums and singles, Hugh Cornwell continues with his gimlet eye for observation and ear for a catchy melody on this raw guitar-led long-awaited latest solo record. Bugbears are slain with lyrical wit and rare personal insights are laid bare across emotional extremes with a feral sensitivity. Coming Out Of The Wilderness, the album’s opening song, is both a statement on the lockdown and a return to recording being four years since Hugh’s previous solo album Monster. Its Duane Eddy style guitar twang motif and lyrics such as “I’m coming out of the wilderness, learnt how to throw a bowie knife” demonstrate, in no little way, the art of survival as an artist in these troubled times.

Enveloped in a romantic setting, Red Rose finds Hugh lamenting the proliferation of tattoos as he opines “I don’t mind different types of jewellery, show it to me, just feel free; could be I’m missing the artistry.” He further releases his vitriol on tracks such as Too Much Trash with a coruscating viewpoint on consumerism and people who leave their litter strewn across the countryside blighting the natural beauty of our landscape. There has always been an obsession with the music of the sixties running right through Hugh’s work and Looking For You is imbued with the atmospherics of The Doors at their haunting best. The heavy dub reggae feel to the title track finds Cornwell on a musical detour he hasn’t taken before. Its overt Clash/ Strummer influences make for an interesting listen given their shared punk musical heritage. The witty and pithy Lasagne is a song about Hugh’s culinary delight. When I Was A Young Man is, perhaps, Cornwell’s most revealing song of his musical output as he wistfully looks back on moments in his life with rear mirror wisdom. Far removed from the spitting days of punk, but with its musical elements smartly smuggled into some of these songs, Moments of Madness is a masterpiece for our times and a very welcome recorded return from the man in black.

Words By Paul Davies

BAD LUCK FRIDAY

BAD LUCK FRIDAY

TROY REDFERN

WINGS OF SALVATION

VLAD IN TEARS

PORPORA

On September 2nd, Bad Luck Friday released their self-titled debut album. With ten tracks, this full-length release packs a sexy punch of soul-drenched songs and an emotionally tortured ballad.

Featuring the blazing blues harmonica licks of Will Wilde and wicked riffs from Steve “The Beak” Brook, this album leaves no confusion for listeners on the band’s blues rock style. The arrangements give way to explosive harmonica playing, with dirty and distorted guitar riffs. Add in the soulful and gritty vocals, this album gains depth and melody that is easy on their ears.

There is ample harmonizing of vocals to be enjoyed throughout “Jealous Woman” and “Banshee” while “Low Down Dirty”, “Dust & Bones”, and “Rebel With A Cause” provide the heavy soul and grit that add another level of power on this album.

Lyrically, the album plays through different themes. From the adult-oriented “Mistress”, tortured soul of “Dust & Bones”, the typically expected blues-laden lyrics on “Low Down Dirty”, and at times cheesy feeling lyrics heard in the title track “Bad Luck Friday” and “666 At The Crossroads”. Even without vocals, the instruments speak to listeners on an emotional level telling their own story.

The overall experience of this album is a display of blues done well. Bad Luck Friday has a good flow that brings cohesiveness to the listeners. The harmonica will catch some off guard in perfectly placed yet unexpected spots. At times fans will wonder if they are hearing a guitar or harmonica with how dirty the harmonica licks are on this album. “Dust & Bones” had one of the best guitar arrangements on the album. The short solo riffage was of note, while “Jealous Woman” featured my favourite mix of guitars and harmonica in a track.

Words by Diane Webb

Picture the scene, Stoke Sugarmill, as Troy Redfern supports The Quireboys, November 2021. The quietly spoken guitarist steps from behind his merch desk to emerge onstage like a whip-thin Clint Eastwood. He gives the sold-out venue an icy glare and riffs straight into set opener ‘Scorpio’ from his album The Fire Cosmic. Fast forward to 2022, and that energy flows through his brand new studio album, Wings of Salvation. Very aptly titled, to say the least!

Redfern’s work rate is astonishing. This is his sixth studio album in two years, and it was written in just under five weeks! Due for release on September 23rd via Red 7 Records, it opens with verve as ‘Gasoline’ highlights his spotlightstealing slide guitar work. Troy’s vocals pull no punches either, delivered with a throaty rasp.

Other highlights (and there are many) include the Stones like hip shaker ‘Sweet Carolina’. The song’s hefty grooves rock hard and heavy, punctuated by fretboard-burning solos. ‘Come On’ - the first single taken from the album is true grit as a lung stripping vocal careers towards massive choruses and virtuoso solos.

‘Navajo’ is a triumph! A song to get totally lost into as it portrays the struggle of their 1864 Long Walk of that nation. Musically it captures the scene that unfolded way back then. A pause for breath comes from ‘Mercy’, a poignant song that ebbs and flows until it’s grabbed by the scruff of the neck by an outrageous guitar solo.

The heaviest song comes from ‘Profane’. A fist fight in the car park bruiser that pulls no punches due to the fast and furious country and western vibes. The slowest song is album closer, ‘Heart and Soul’, which lives up to its title for a heavy-hearted number that defies you not to shed a tear.

Words by Dennis Jarman

The reformed Vlad in Tears, a gothic-metal fourpiece from Italy and Germany, have recently released their seventh studio album; Porpora. Based on their past few years’ experience during the Covid pandemic, Porpora examines weighty themes like loneliness, sorrow and death.

Described as gothic-metal, Vlad in Tears are closer to Cradle of Filth than Sisters of Mercy. Nonetheless, there is an undeniable melodic quality that underscores the brutal vocals of lead singer Kris Vlad.

Porpora opens with the powerful Wasted Lives, examining the lost time experienced during lockdown. This is immediately contrasted by the second track, Down, which offers a distinctly reflective and lyrical experience. The subsequent tracks follow a similar pattern, either being powerful fist-pumping metal or subtler introspective musings on recent experiences.

There are many bands that are described as gothic-metal, but most feel closer to one genre or the other. Vlad in Tears is one of the few bands that manages to straddle both genres without diluting the experience. That said, the more gothic-leaning tracks are definitely their strongest, as it is here that Kris’s vocals are at sublime.

Vlad in Tears work incredibly well together, as there is a distinct cohesion to their music. Rather than one being drowned by the other, the vocals enmesh perfectly with the music to create a layered sound. This brings together all four members of Vlad in Tears, creating something greater than the sum of their parts. Their cover of Kate Bush’s Running Up That Hill is particularly impressive, especially for anyone who has watched the latest season of Stranger Things.

Purists seeking only goth or metal may be disappointed at the confluence of genres, but those willing to be experimental and open to new sounds will find a lot to enjoy with Vlad in Tears’ Porpora.

WEDNESDAY 13

HORRIFIER

CANDLEMASS

SWEET EVIL SUN

ERJA LYYTINEN

WAITING FOR THE DAYLIGHT

Wednesday 13 is certainly no stranger to horror. He first made his name fronting Frankenstein Drag Queens from Planet 13 and Murderdolls. His solo career doubled down on the horror influences, delving ever further into classic horror within his music.

Throughout his career, Wednesday 13 has explored a variety of musical genres, such as with the bouncy, punk-influenced Transylvania 90210 and Fang Bang, whilst remaining firmly focused on horror themes. Horrifier will be Wednesday 13’s ninth studio album, and this shows in its crisp production values. It is distinctly more immersed within the metal genre than his earlier work but retains the same horror-punk ideology of classic Wednesday 13.

The album opens with the instrumental Severed, which sets the tone for the album, with discordant guitars riffs and heavy drumming. This is immediately followed by the darkly heavy and sombre Insides Out. This is a new Wednesday 13 which, like the best of modern horror, is unafraid to go into dark spaces.

Horrifier is not completely dark and sombre (this is Wednesday 13, after all), as Exhume and Devour feels akin to classic Wednesday 13. You’re So Hideous also captures some of his original magic. Likewise, the title track is equally catchy and engaging.

Ultimately, Horrifier is a slightly different take for Wednesday 13, akin to his previous Skeletons, if not as personal. Somehow though, Horrifier feels like a missed opportunity. Return to Haddonfield – referencing the recent Halloween movies – could have been a perfect opportunity to echo his original Haddonfield from Fang Bang.

This is the same Wednesday 13, but without the gleefully catchy lyrics of his earlier work. Horrifier is an excellent metal album, but those expecting the same intensely fun horror-punk energy of his earlier work might be disappointed with the shift in emphasis towards a more doom-metal sound. Swedish metallers Candlemass return with a new release - “Sweet Evil Sun”. A nine-track doom-laden affair, showing the world they still have more than a few ideas to get your ears around within this genre of music.

Founding member Leif Edling made an effort to take the band back to its roots on this new album with heavy riff guitars, killer drums, and vocal melodies to compliment the overall feel of the release. The record also features the return of their original vocalist Johan Langquist.

Kicking off the album is the riff-laden “Wizard of the Vortex”, which comes complete with an orchestral feel to the chorus, tempo changes and thunderous drums. This is followed by “Sweet Evil Sun,” - the title track for the album. The latter takes the listener back to the times of the band’s early repertoire. This could have easily come from the days of Epicus Doomicus Metallicus (1986) and Nightfall (1987).

“Angel Battle” follows with a classic Sabbathesque vibe, whereas “Black Butterfly” is complemented with some great doom guitars. With “When Death Sighs” comes a haunting mood change with a monologue feel to the melody, which fits well. Then we move on to what I would describe as a highlight track on the album, “Scandinavian Gods”. This must be played loud; no excuses. A great call-to-arms riff on bass and guitars accompanies the drums also.

“Devil Voodoo” is classic Candlemass. Then we move on to “Crucified” keeping up the tempo with its predecessor - heavy-laden guitars and doom vocal melodies to the core. The album’s last song, “Goddess”, feels like it’s straight from the “Nightfall” era; a reminder of why Candlemass have sustained and earned their longevity through the decades. The album closes with a little outro - “A Cup of Coffin”.

Overall, it’s a great return to form. We look forward to catching this line-up performing their latest offering, which should be a real treat for all fans, old and new. Perhaps we can all relate to the title of the new album from Erja Lyytinen. Waiting For The Daylight feels pertinent coming out of a period of lockdown and restrictions brought about by a global pandemic. I guess we have all been waiting for the return of some semblance of normality during this time.

Although the album may sound like it’s about life during the lockdown, when you dig deeper into the release, you will find themes and subjects that were present in the artist’s last two releases Stolen Hearts and Another World, respectively. Lyytinen continues to write about personal subjects such as love and loss. Whilst the guitarist extraordinaire brings many burning topics to the forefront, such as bullying in Last Girl and sexual harassment by way of You Talk Dirty.

However, it’s not just the guitarist’s songwriting that is fiery but also her blistering fretwork. Channelling the rock greats of the 70s, Lyytinen and her very capable band continue to push beyond their traditional blues origins into a more rock-orientated sound to great effect. As fans of Lyytinen’s playing would want and expect, there are plenty of guitar solos along with lashings of incendiary slide guitar.

What’s more, with her latest offering Lyytinen has pushed herself further creatively and artistically. Much like her last full-length release, Another World, this album was once again selfproduced, showcasing a skill at which the artist has become incredibly competent.

There are many highlights on the album, including the lead single Bad Seed and the title track itself. Whilst the album’s closer End of Music, is a beautiful conclusion to a wonderful release.

Lyytinen’s latest album is perhaps her strongest studio album to date. It was most certainly worth the wait.

Words by Adam Kennedy

EVA UNDER FIRE

LOVE, DRUGS & MISERY

FEAR FACTORY

RECODED

JOE LYNN TURNER

BELLY OF THE BEAST

This debut album from Detroit-based Eva Under Fire comes out of the gates swinging with the high-energy track Blow, featuring Spencer Charnas of Ice Nine Kills. Riff-heavy with thunderous drums, this opening track has an insanely catchy chorus that immediately draws you in and keeps the energy up until the very end. Unstoppable has a driving rhythm that will undoubtedly instigate a sea of nodding heads at a live performance and showcases the range and talent of lead vocalist Amanda Lyberg.

It’s no secret that this particular reviewer is not a fan of U2, but, looking past that, this cover of With or Without You is soulful and melodic and breathes new life into the tune. Another Shot Through The Heart brings staccato rhythms and playful riffs before transitioning into the steady, anthemic beats of Misery.

The Strong hits all the right notes for a power ballad, with sumptuous harmonies, melodic riffs, string sections and a soaring chorus. Death of Me brings the tempo back up again with fiery guitar breaks and another chorus destined to have audiences singing along at live shows. Heroin(e) is a thoughtful tune, weaving between stripped-back vocals and keys and thunderously heavy hooks.

Ghost is another soulful tune that mixes melodic metal riffs, beats and harmonies. The final couple of songs on the album feature collaborations with From Ashes To New and Johnathan Dörr of Ego Kill Talent. Album closer, Give me a Reason, comprises piano sections, uplifting choruses and a counterpoint ending, which rounds out what is an incredibly selfassured debut album. One to look out for on their inevitable UK tour.

Overall, a must-listen for fans of Halestorm, In This Moment, New Year’s Day or similar.

Words by Simon ‘Spindles’ Potthast

Back when they were a death metal band, Fear Factory decided to break all conventions in 1993 and release an EP of remixes of their debut, ‘Soul Of A New Machine’. ‘Fear Is The Mindkiller’ was as groundbreaking as it was brave, marrying industrial beats with downtuned guitars and guttural vocals, but it kick-started a new movement. Soon all the big bands of the 90s were getting their music remixed by star DJs and underground talent.

Fear Factory then released ‘Remanufacture’ in 1997, remixes from their breakthrough ‘Demanufacture’ album, but have since been quiet on the remix front. Until ‘Recoded’, that is - 25 years after ‘Remanufacture’, they’ve decided to remix their latest album, ‘Aggression Continuum’. As before, Rhys Fulber provides the best mixes on offer incorporating his heavy cyber industrial trademark sound - ‘Hatred Will Prevail’ and ‘Path To Salvation’ being the best of the bunch on offer.

The main problem with ‘Recoded’ is that the source material was never going to be better than ‘Demanufacture’. Although this may allow the listener to enjoy the remixes on their own merit rather than make judgemental references to the original songs, one does get the feeling that this was a project that was neither asked for by fans and probably not singer Burton C Bell, whose Fear Factory swansong will now sadly be a remix album. There is some novelty value in the album and even a bit of fun to be had along the way, as is apparent in the Zardonic remixes, but essentially this is an album for Fear Factory completists in a style that was all the rage 25 years ago.

They’re far from obsolete, but you have to ask yourself if you enjoyed ‘Aggression Continuum’ enough to warrant buying remixed versions of the songs.

Words by Neil Not

Joe Lynn Turner has been on the scene for over 40 years, but he’s come back in 2022 with a new look and a new sound. I first became aware of the artist in the early 1980s when he joined Ritchie Blackmore’s Rainbow, and I’ve dipped in and out of his career since.

I, therefore, had certain expectations regarding this album. I was expecting a well-crafted AORmeets-soul, with catchy pop choruses. Colour me surprised, what I got was power metal with orchestral arrangements and a range of genres, all held together by Joe’s distinctive vocals. The album opener and title track, Belly of the Beast, is a real powerhouse metal track. This theme continues throughout the album. There are lots of screaming guitar solos and power riffs; in places it reminds me of Michael Schenker at his best. The band that Joe has put together for this project are more than competent. Joe’s voice is on top form throughout, but at the same time, his band play an absolute blinder.

The lyrics have a tendency towards the epic. There’s a lot of not sword and sorcery going on, but storming of castles and waving of swords is a possibility! But in a total turnabout, there’s also Fallen World, which is a kind of Eco song. My favourite track from the album is Desire, a slow and sleazy slice of life on the streets. In contrast, Dark Night of the Soul has big vocals, big power and gives me goosebumps. The album closer is another slow burner that showcases the range that Joe still has in his vocals. Overall, it’s not what I expected, but it’s pretty good, and I’m happy to add it to my collection.

Words by Jo Crosby

LACUNA COIL

COMALIES XX

Twenty years ago, Lacuna coil first released Comalies to critical acclaim. It was one of the great post-millennium Rock/Metal albums to be released. I have most of their releases, but I wouldn’t say I’m a super fan, so a little excited and apprehensive to hear this new take on the Comalies release.

Yes, the songs are the same but re-recorded with a new edge, a new take on those epic tunes. The track listing is the same as the original; straight in with the classics “Swamped” and “Heaven’s a Lie”. There are subtle changes in all the re-recordings, different sound effects, and emphasis on each instrument. Richard Meiz’s drums are bang on with every note. There’s more emphasis on bass tones and atmospherics with keyboards from Marco Zelati on this production.

Every song has its moments - the haunting vocals on “Daylight Dancer”, the melodic mood swings of “Humane”, and the stomper “Self Deception” really gets the beat going with the added orchestral overtones. “Tight Rope” is a song that reminded me how much I love the original album, with big-sounding thunderous drums, heavy guitars, bass, and great vocals from Cristina Scabbia and Andrea Ferro. Wellcrafted tunes with no cliches.

Again, the vocal melodies on “The Ghost Woman and the Hunter”, “Unspoken”, “Angels Punishment”, and the closing track “Comalies” all highlight what great musicians this band are, as does show when they perform live also.

A well-produced new take on this infamous release, and most lovers of Rock/Metal should have the original in their collection. This release/version sounds a little more commercial production-wise and a great addition for the die-hard fans.

THE OUTLAW ORCHESTRA

BACK UNDER THE COVERS

Back Under The Covers is The Outlaw Orchestra’s new 5-track EP featuring cover versions performed in their own inimitable style of some of those songs that you’d forgotten you knew. As the band are a kind of country-rock, early-ZZ-Top-inspired outfit with added banjos, the results are somewhat interesting!

They start with Come Together. This was originally performed by The Beatles. They countrify it up, add some banjos and rock it out in their own special way. Small Faces Itchy Coo Park follows, and I’m beginning to see a theme here. They mess around with it a bit; it’s quite good fun.

They then move on to Joe Walsh’s Rocky Mountain Way, which is one of my favourite songs in the world ever, and to be fair, they do it a reasonable amount of justice. I think “rollicking” might be a good way to describe it, and again the banjos are high in the mix. Up On Cripple Creek by The Band is a song I’m not familiar with, but the lyrics involve a lot of Mississippi references, so it’s appropriate for them.

The final track is Motorhead’s Iron Fist which once again feature’s the group’s country rock stylings. It’s okay if you like that kind of thing, but I found my interest waning by this time as it was all a bit samey.

The Outlaw Orchestra are a good band with a unique style, and I bet they’re a scream live, but by the end of the EP, I was looking for, and not finding, something a bit different.

Words by Jo Crosby

Words by Russell Peake

TYLER BRYANT & THE SHINEDOWN

SHAKE THE ROOTS

With their brand-new album Shake The Roots, Tyler Bryant And The Shakedown have not just shaken them, they have also overhauled them by leaving their old record label and going independent by creating Rattle Shake Records to have full control over their music. It’s a brave move for sure, and their newfound freedom lights up these twelve tracks on their fifth studio album.

Since forming his first band at just 15 years old, Tyler has come a long way since moving to Nashville, Tennessee, to pursue his musical calling, forming the band in 2011 and releasing their first EP My Radio. A steely-eyed determination to succeed has resulted in sharing stages with AC/DC, Guns and Roses, Aerosmith, and Jeff Beck, to name but a few.

It’s all killer, no filler and here are some of the highlights. ‘Bare Bones’ is a short but sweet slide guitar-dominated barroom boogie bluster to kick off the album. This is followed by the first single taken from it, ‘Ain’t None Watered Down’. That includes some hell-raising lyrics of “Give me a jar of that Lightning Strike, I like my love like a barroom fight, ain’t none watered down. Got the tail of a tiger, you can’t change the stripes, double the trouble at just half the price!”

A Black Sabbath vibe shakes the foundations as ‘Ghostrider’ has riffs to scare the living daylights out of you. ‘Roots’ has a heart worn on the sleeve lyrics that include “Learned to swim in muddy waters, learned to walk on rolling stones.” It’s a beautiful song that ambles along without a care in the delightful choruses until it muscles up for a feisty outro. ‘Off The Rails’ is AC/DC with a country touch as it headbangs like Angus Young and the unrelenting riffs take no prisoners. ‘Sell Yourself’ is another heavy rocker, point proven by the seismic riffing and gnarly lead vocals. The album closes on ‘Midnight Oil’, where all country-tinged influences rise up to get you on the dance floor and air guitar for the outro guitar solo.

Words by Dennis Jarman

THERE’S ONLY BLACK

VENOM INC.

MONSTER TRUCK

WARRIORS

DAVID LONGDON

DOOR ONE

Let’s get this straight right now. I don’t care who the real Venom is as long as the Cronos fronted Venom and Venom Inc. (featuring original Venom guitarist Jeff ‘Mantas’ Dunn) are both delivering good music. A point proven by There’s Only Black - the sophomore studio album from Venom Inc., recently released via Nuclear Blast Records. These twelve tracks are a dirty dozen of ferocious tunes.

Choice cuts start with ‘How Many Can Die’ - a turbulent opener that burns up the tarmac on a punishing pummel that has certified pit opener written all over it, hammered home by a midway-over-the-top guitar solo.

‘Infinitum’ grabs you first by cataclysmic kick drumming from Jeramie ‘Warmachine’ Kling, buzzsaw riffing and a lung-busting barked vocal and bass bombast from Tony ‘The Demolition Man’ Dolan. It surges along unrelentingly on gritty thrash metal of the highest order.

Rib rattling riffs rage hard and heavy throughout ‘Come To Me’ that lay down a muscly maul around an unearthly vocal growl that’s topped off by a kick drum-driven, shimmering midway guitar passage. ‘There’s Only Black’, which was the first single released, is a mid-paced thrash attack of body blow grooves that are a force of nature and words of warning lyrics are mandatory!

Demonic vibes rise up from ‘Tyrant’ for a skull-crushing dose of heavy metal. Choruses are short but deliver their powerful message, ending the song symphonically. ‘Don’t Feed Me Your Lies’ is a vitriolic rant over an ominous grind until it explodes with wrecking ball power.

This impressive album ends with ‘Inferno’ - a fireball of vocals of a manic glee for a truly disturbing number of leaden grooves that drag it into a musical quagmire until it slowly emerges for a languid guitar solo.

Words by Dennis Jarman

If you’ve experienced the music of Monster Truck before, you will know that their sound is effortlessly bursting with classic rock influences. These Canadian rockers are not shy of volume with their love for loud, distorted guitar and bass drives, a theme notable from their previous releases, with Warriors leaving no disappointment. This is their fourth full-length album that is just as bold as their previous work and is full of riff-driven, pure rock ‘n’ roll tunes!

Opening with the title track Warriors this sets a punchy tone for the rest of the album. The chorus holds a chant of ‘oh we are the warriors’ that you can envision in a live environment as a total crowd pleaser. Fuzz Mountain follows with a more blues inspired sound whilst Country Livin’ gives us the summer road trip vibe with a salute to their mission statement of having a good time, being respectful and remembering that life is a party! A statement that can certainly be picked up throughout this album leaving listeners in an excited, happy mindset after each listen.

Monster Truck’s vocals have always been a magnetic pull for me, whether they are shared harmonic phrases or Jon Harvey doing his solo magic; for me, this has always been a key characteristic to distinguish their hard-hitting sound and this release highlights exactly that.

A fierce effort from these lads and an album I’m certainly going to have on repeat!

Warriors is available now on black vinyl, CD, digital download and as a part of a variety of merch bundles.

Words by Charlotte Hooper

As the consummately talented frontman of the progressive renaissance band Big Big Train, whose melange of folk tales, ancient and archaeological themes translated via the prism of progressive, folk and brass band music stretched far beyond expectations, David Longdon was a much-loved artist and man. Very few artists and bands endear themselves to a growing fan base - passengers, in this case - than this evolving group and their tragically taken too young main man David Longdon. Door One reinforces this view and posthumously enhances David’s reputation. A reputation that is eternally golden with his portrait exquisitely captured by his partner Sarah Ewing’s cover illustration.

Turning up the volume knob and carefully opening the door to this recording, the listener is instantly plunged into the ambient world of Into The Icehouse. It’s a freeze-frame instrumental moment in recorded time contrasting with the jaunty riff of Watch It Burn a song, like a few on this record, about messy and perilous relationships that No Ghost Like An Old Ghost eloquently documents with its upbeat poppy tones. Forgive But Not Forget broods further upon this theme possessing the spirit of mid-70s Genesis. Sangfroid’s manipulation of sound and verse is almost overwhelming. Arguably the showpiece musical event, though, is The Singer And The Song inspired by this performer’s concert preparations that Longdon sets out with emotional acuity.

Love Is All rightly has the last word as each musical stitch in this extra fine tapestry of sound is carefully considered and executed. The subtle and the complex join harmoniously on this sonic journey that was 90% recorded and completed by a core of musicians close to the artist, at the time of David’s passing in November 2021. Like footprints left in the recorded sands of time, Longdon’s stride grows longer on this final bow.

Words by Paul Davies

Everyone’s favourite marmite band Nickelback are back, and I can’t deny that I wasn’t massively excited about this announcement. I’ve followed the band since “How You Remind Me” poured from my dad’s car speakers over the radio, with albums “Silverside Up” and “Dark Horse” making my top 10 albums of all time list. Needless to say, I couldn’t wait to get my ears plugged into this new album, but it certainly wasn’t what I was expecting.

Their first single, “San Quentin”, had everyone in a spin, some calling it metalcore, which for me, is a step too far. They are heavy rock, even heavy metal regarding their crunching guitars but metalcore, not so much especially judging by the rest of the album. It is a crowdpleaser for the stadium shows and for some reason, it truly sticks in your head. From the opening slaps to the solo and thundering drums - it keeps you captivated.

The following track, “Skinny Little Missy”, is just as dirty, and I love it. As always, talking about their favourite kind of independent but dirty girl, and this song will have the ladies grooving. It gave me a sense of “Hell Yeah” with the lines “She don’t want no boyfriend” and “Don’t Waste No Time” because we certainly don’t. The solo is pretty slick in its delivery and goes into the half-time muffled vocals before tearing it home. “Those Days” follows with its nostalgic feeling, and I quite like it. I have always loved Nickelback’s ability to change the tempo this way. Acceptable for everyone from the bird song lovers to the naughty bedroom shakers. It’s very catchy in its delivery, and I’m sure a staple to be played at Open Mic Acoustic nights for sure.

Hitting off that nostalgia road and just down the country lane, you get a funky play from “High Time”, which has the album title thrown in there. I like it, but it’s not a Nickelback track, not even by their ballad or catchy staples like “This Afternoon”. I’m not sure where they were going with this, but it’s easy to listen to.

“Vegas Bomb” in the opening chords gives you whiplash from the easygoing pace to a rocky road. This song is going to be a huge crowd pleaser keeping the party going all night long. “Vegas Bomb” will keep the hardcore fans going with its catchy choruses and guitar solo. The rest of the album is filled with great feel-good tracks, giving you a chance to take in the skill of how Nickelback can certainly deliver, whether they are taking you to a party or a drive down memory lane.

As always, I cannot fault the production and mastering of this album. Since “Silverside Up”, the albums have had a constant high standard of delivery and appeals, in my opinion, to everyone. I love hearing every note clearly, whether that is from Chad’s pipes, Ryan’s driving rhythms, Mike’s bottom lines or Daniel’s pounding on the drums. “Get Rollin” sums up Nickelback in eleven brilliantly written and orchestrated tracks, driving you down the lanes of nostalgia while taking detours to party city.

Words by Charlotte Simpkin

NIGHTBLADE

HOPE TO BE THERE

When it comes to work ethics, few can say they have been as prolific as Kidderminsterbased rockers Nightblade in recent times. The group recently released their impressive third album in three years. Thus, completing what the band has deemed as their trilogy.

The opening track of the album, which is titled Erratic, leaves the listener under no illusion. Just like the title dictates, this track is fast and furious. It’s a big number to open the album with, complete with crunchy guitar riffs and an infectious melody. Immediately from the off, you feel your toes tapping and your head bobbing.

The title track itself, Hope To Be There, is a poignant and thought-provoking melodic rock number with a huge chorus. Whereas the following number, If Only You Could Know, is packed full of power chords, set against a pulverising rhythm, and delivered with passion and intensity.

After the prolific first four songs, Something Inside slows things down momentarily. The song builds as it progresses throughout its 7 minutes and 37 second duration. It’s a bit of an epic, to say the least. Nightblade provides their version of a love song courtesy of No One Is To Blame. But as fans of the band would expect, this is not a soppy ballad in any way, shape or form.

The infectious twin-part guitar harmonies are particularly effective during the opening of the up-tempo rocker Head In The Clouds. The band walk down a dark and brooding path during Right By Your Side. Whilst the Wah-infused guitar opening during All Is Said And Done heightens the sinister sounds of the track.

With its pummelling bass line, fiery guitar licks and heavy rhythm, Push It To The Limit does exactly what it says on the tin. The band push their sound into the extremities of hard rock. Whilst the final track on the release, which is titled That Feeling, brings a slow conclusion to the release, as the album fades to black.

With their latest release Nightblade delivers a sound that is reminiscent of the past, with a foot firmly in the future. Next time the band hits the road, we certainly Hope To Be There.

FORGOTTEN SONS

FORGOTTEN SONS EP

Perhaps the Shetland Islands may be a far cry from rock meccas like London, Los Angeles, or New York. However, it doesn’t mean that these areas lack the talent than can be found in those famous cities. Forgotten Sons are a perfect example of this.

The band recently witnessed a change to their line-up, but they are now regrouped with new material and stronger than ever. Forgotten Sons’ eponymous EP is a testament to this.

There may only be four tracks on the EP, but don’t let that put you off. This release has so much to offer. The EP ebbs and flows throughout its duration, keeping the listener locked in from the off.

The opening track - Flip Side, is a dose of punk-tinged alternative rock. The band’s energy flows throughout the song with their short and sharp riffs, big hooks, catchy choruses, and plentiful power chords. The band switch things up momentarily with I’m Fine. The song is a lot slower than the opener. It’s an atmospheric ballad complete with heartfelt lyricism.

The song Socials is a burst of nostalgia. It has a very ninety’s grunge rock sound. The track is full of fuzzy riffs, which are turbocharged by the band’s tight delivery. Mid-song, the band winds up into a punk rock explosion. The track is a real earworm on the album.

Forgotten Sons wrap up the EP with perhaps the strongest song on the release - Wasteland Mindset. The song is delivered with conviction and provides a fiery conclusion to the group’s four-track release.

Although the band and their EP may be called Forgotten Sons, with their latest release, the band will leave a permanent mark in your memory in the best possible way. All that’s left to be said is that the group’s latest offering is simply unforgettable

Words by Adam Kennedy

DIAMOND HEAD

LIGHNING TO THE NATIONS (THE WHITE ALBUM)

Where does the time go? It was 1980 when Diamond Head released their debut album and unleashed their heavy metal sound. Forty years later, we have this ultimate version release with not only the ¼ master tapes restored. We also have five of the original mixes included and seven bonus tracks to complete the definitive version. A pinch point historically speaking for heavy music.

This album changed the lives of so many people, at least for the definitive NWOBHM movement in the early 80s. Of course, a lot of music lovers didn’t cotton on to the riffage of Tatler and crew until a band called Metallica covered a few of their tunes. But make no mistake, listening back on this album, you can instinctively hear the well-crafted songwriting of Tatler and Harris and appreciate what their contribution to the heavy metal genre really is.

The title track, “Lightning to the Nations”, “The Prince” and “Sucking My Love” all highlight the musicianship of the band. Great riffs, drums, vocals, and melodies all shine through. Track #4 begins my first introduction to the band with the unforgettable “Am I Evil?” There aren’t that many cooler riffs than this little number. “Sweet and Innocent” and “Its Electric” are just classics to hear now. The original album ends with “Helpless”, which multiple artists have covered over time.

It’s an album which should belong to all rock fans as a historical timepiece. British Rock - loud and proud. Of course, you also get the “Original Mix” versions so you can immerse yourself in a time warp back to those days. I enjoyed the bonus tracks; the songs are well-crafted with great riffs and have more commercial feel to them. I enjoyed them all, especially “Streets of Gold”, “Play It Loud”, “Diamond Lights”, and “We Won’t Be Back”, to name a few. A must-have in your collection.

Words by Russell Peake

THE RASMUS

RISE

When you hear the name The Rasmus your mind throws you way back to the 2003 emo anthem In The Shadows - so to hear they have unleashed new material is naturally intriguing. Following an impressive Eurovision performance earlier this year, the Finnish rockers have released their tenth studio album Rise, an album complied during the COVID pandemic.

The fusion of pop-hooks and melodic structures creates a trademark sound from The Rasmus. The opening number Live and Never Die is a total earworm that instantly picks at your curiosity whilst tracks like Odyssey create a rollercoaster of sounds with a powerful beat and mystical vocal scale that echoes into silence as the song closes. Each track does also have its own story to tell that are based around relatable topics on a number of levels! For example, two dark and moody tracks Fireflies and Be Somebody, both focus on the idea of someone isolating themselves from any light or human interaction but craving recognition or affection. Putting the spotlight on their Eurovision single Jezebel, this single highlights the sophistication and growth from the band’s sound and explores the concept of a strong, independent and rebellious female character!

Overall, the catchy melodies from track-totrack keeps the listener engaged throughout alongside the classic emo-rock vibe which makes this a fun and easy listen. I must say that they sound better than they ever have before; I’m excited to see what the next chapter holds for these guys!

For any vinyl lovers, like myself, this album is available on LP and a special limited and numbered box set (Limited to 1000 copies) with LP, CD, logo pin, signed card and 48 page 12“ sized booklet including photos, lyrics and liner notes – also available in digital format and CD.

Words by Charlotte Hooper

Award-winning British blues singer/songwriter and guitarist Rebecca Downes returns with her new album, The Space Between Us. Following the release of the artist’s lockdowninspired acoustic album Stripped Back the Midlands-based chanteuse is back with her full band and a fully electrified affair.

The opening of the album, Beccs Blues, sets the tone for the release. It’s a traditional Delta Blues number in the vein of early Robert Johnson and comes complete with a vinylsounding aesthetic. The track is short and sweet but gives a listener a taste of what is to come.

Of course, Rebecca Downes treads a fine line between blues and rock. Each of which she does very well. The first single from the album, Hold On, fits into the latter category. It features all the hallmarks of a track from Rebecca. The artist’s passionate delivery and exceptional range resonate throughout the song. It’s a very catchy song and the perfect first single to be released for the album.

Rebecca turns up the heat with the thunderous rocker - This Is How It Feels. Whilst the artist’s ethereal vocals enchant the listener as the song Terrorise ebbs and flows. Downes and her band switch gear with the title track of the release. The Space Between Us has an almost Stones-like classic rock swagger about it. The song also features some wonderful fretwork from guitarist Steve Birkett.

Rebecca Downes has an aptitude for writing atmospheric blues-rock numbers. A perfect example would be Night Train from her earlier release. However, on this album Lights Go Out is much in the same kind of vein. It’s a style of song which Rebecca does so well.

As the album progresses Head Over Heart, is a blues-tinged classic rock number with maybe a hint of Free, Whitesnake, or Bad Company influence. The song is the perfect precursor to the only cover on the album which is Rebecca’s tremendous take on Free’s A Little Bit of Love.

In the final stages of the release, Not On My Knees is a sombre and somewhat atmospheric heavy blues number with resonating church bells utilised to great effect. The album concludes with the foot-stomping blues rock number Rattle My Cage.

Much like her last album Stripped Back, with The Space Between Us, Rebecca Downes has once again outdone herself.

Words by Adam Kennedy

PRINCE BISHOP

ALL IS DUE

Prince Bishop may sound like a move from a chess game, but for those from the NorthEast of England, perhaps the band name will hold more significance. Founded in County Durham, the rock trio will release their debut album, All Is Due, on the 25th of November.

Recorded during the lockdown, All Is Due transcends genre with Prince Bishop employing a multitude of musical stylings throughout the release. Not afraid to push the boundaries of genre Prince Bishop showcases a variety of influences throughout the ten tracks on their new release.

The album opens with the somewhat ethereal sounds of The Ghost Of Good Will. The song is an atmospheric number, complete with orchestral elements and a big sound to boot. In places, it feels as though the song was recorded in a grand setting, such as Durham cathedral.

The band switches gears with Come Alive. The latter features wonderful vocals from frontman Ben Trenerry. You can also hear some of the band’s 90s influences shine through on this track.

All Is Due features several tracks that have undertones of the late great Jeff Buckley. These can particularly be heard during Soul of a Man along with Way of Things. The latter features some poetic lyricism from Trenerry. Furthermore, the keyboard breakdown adds a nice texture to the proceedings.

With each track on the album, Prince Bishop takes the listener on a musical journey. The progressive rock stylings of the band shine through during Truth Lies In Between. The song ebbs and flows, with moments resembling classic Pink Floyd output.

The band turns things up a notch with Roman Roads, which is one of the livelier tracks on the album. Before the beautifully intricate title track brings the ten-track album to its close.

It’s quite challenging to pigeonhole All Is Due into one box. The album is eclectic, to say the least. It’s the kind of album you are meant to savour from start to finish. Not just skip in and out of songs, as tends to happen these days. With All Is Due, Prince Bishop have delivered a majestic debut offering. We’ve got to give the band credit where it is due.