tag:blogger.com,1999:blog-6843864849325047472024-03-21T18:30:49.625-07:00Album ReviewsAnonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-684386484932504747.post-13393392312223651252014-05-18T08:04:00.001-07:002014-05-18T08:04:59.295-07:00Kitten and the Hip- Hello Kitten<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs0LV40iyo8dbfVVkf65gFriiHm-hUFodxkPqcRdbLBBqTl7IA6Ap18JCLt_xOpfBezgbDwzxbpZZ1DTdIUt06DyuRCUjLqXjLdK_KxGF-C1Mi7tNOoAxIc2Qfgo-oram9pIPvjZdzTaw/s1600/kath.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs0LV40iyo8dbfVVkf65gFriiHm-hUFodxkPqcRdbLBBqTl7IA6Ap18JCLt_xOpfBezgbDwzxbpZZ1DTdIUt06DyuRCUjLqXjLdK_KxGF-C1Mi7tNOoAxIc2Qfgo-oram9pIPvjZdzTaw/s1600/kath.jpg" height="320" width="320" /></a></div>
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Cheesy bubblegum pop, electronic dance music and 20s jazz
are just some of the genres which collide in this début release by <b>Ashley Slater </b>and <b>Scarlett Quinn</b>, A.K.A. <b>Kitten
and the Hip.</b><o:p></o:p></div>
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<b><br /></b></div>
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What the music lacks in depth or sophistication, it more
than makes up for with the sheer energy and fun. Track by track, the mixture of
electronic music and jazz horn sections and souped-up double bass lines keep
the music moving along at a good pace. The different styles of older music
added into the modern sounds ensure each song has a different feel-gypsy jazz,
Balkan swing, 50s pop, soul and funk all make an appearance.<o:p></o:p></div>
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<br /></div>
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<b>Shake it Out</b> may
take the electronic dance and dubstep edge a bit further than I enjoy, but
there are plenty of other songs here which more than make up for that, the
annoyingly catchy <b>Shut Up and Dance </b>and
<b>Don’t Touch The Kitten </b>will be stuck
in your head after only one listen.<o:p></o:p></div>
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<br /></div>
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<b>Hello Kitten </b>is a
strong album, especially if you enjoy your music a bit mixed up, catchy, and
definitely not too serious. Get your head bopping and hips moving to this one.<o:p></o:p></div>
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<br />
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7.5/10</div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-53029413627229119822013-08-13T07:19:00.000-07:002013-08-13T07:19:08.753-07:00Youngblood Brass Band- Pax Volumi<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNs10B5pBuwm7cISWIgBRA97pJ4IR_UU-tsO8SkhNayr_BWbMbdTmIAJr1dvYSsTzoSYWKUp99tMKNaYhEunsN59baBXSA_-4zgc4ay6P4y3wy5-o5l50HGgtwbSERAbv9RzxaxV7z5Uo/s1600/tru278_300ppi_rgb.255x255-75.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNs10B5pBuwm7cISWIgBRA97pJ4IR_UU-tsO8SkhNayr_BWbMbdTmIAJr1dvYSsTzoSYWKUp99tMKNaYhEunsN59baBXSA_-4zgc4ay6P4y3wy5-o5l50HGgtwbSERAbv9RzxaxV7z5Uo/s1600/tru278_300ppi_rgb.255x255-75.jpeg" /></a></div>
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Funk and jazz, hip-hop and punk; these are just some of the
places that Youngblood Brass Band have gone to draw inspiration for this latest
release. </div>
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Pax Volumi, the fourth album from this 10-piece collective
from across America. Blending hip-hop rapping with tongue-in-cheek lyrics,
jazzy horn lines, punk-y beats and funky bass lines, there really is something
to appeal to all audiences about this music.</div>
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<br /></div>
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The album successfully captures the energetic craziness of
the live band, and shows off the way the group is influenced by New Orleans
Dixieland jazz with the semi-improvised nature of the tracks, and the
interaction between the different parts.</div>
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<br /></div>
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Youngblood Brass band really have got some fantastic tracks
on this album- the opener and debut single, ’20 Questions’ shows off their
Hip-hop stylings to great aplomb. The horn riffs crackle like fire and the
lyrics come thick and fast. ‘Wrestlevania’ is a much more jazzy number-
instrumental, it shows off the band’s prowess as players. The cover of Chaka
Khan’s 80s classic ‘Ain’t Nobody’ is full of life and energy, with some great
sections of powerful horns, with a slightly latin beat. ‘The Old Rugged Cross’
takes the feel and sounds of a New Orleans funeral march, slow and sombre,
before lifting up into a celebration of life with the segue into ‘His Eye is on
the Sparrow.’ The moments where individuals have solos only serves to show how talented the individuals who make up the band are- both tasteful and complicated, these short solos add little bits of individual character to certain tracks, rather than being used as something to have in every song.</div>
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<br /></div>
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Overall, this album crackles with energy, and shows off the
talents of the band as a whole; as well as individual musicians. Equal parts
jazz, rock, hip-hop and funk, there is something for everyone on this release.</div>
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<br /></div>
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8.5/10</div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-74621598309281159362013-08-06T13:59:00.002-07:002013-08-06T13:59:46.040-07:00Ballard- Pancho Got Soul!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyA3ipDCM6-MnCcbYcw2Pmpsuhf5UojCp_oFeOcSt8bAgs1eiqJrkOWGevX2gfDBOpQ9Wat0zuTLU80usafJbz5KEbaNy6r6LsQek_llNkRmUPX8hA7R8F_duAfq9l2hW6OogHvynjqcU/s1600/cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyA3ipDCM6-MnCcbYcw2Pmpsuhf5UojCp_oFeOcSt8bAgs1eiqJrkOWGevX2gfDBOpQ9Wat0zuTLU80usafJbz5KEbaNy6r6LsQek_llNkRmUPX8hA7R8F_duAfq9l2hW6OogHvynjqcU/s320/cover.jpg" width="320" /></a></div>
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An attempt at soul that seems to have more in common with rock
of the 1960s and early punk than strict soul music, Ballard’s 4-track EP (and a
bonus demo song), <i>Pancho Got Soul!</i> is
a low-tech, guitar-based offering.<o:p></o:p></div>
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<br /></div>
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Rejecting highly polished production and squeaky clean
digitalised sounds, this EP has a raw honesty to it. The crunchy, slightly
distorted sound works well for tracks like ‘Race Relations’, which sounds like
it is being shouted through a loudhailer. </div>
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<br /></div>
<div class="MsoNormal">
However, this dirt does get a bit
trying on some of the other tracks, as it doesn’t offer much scope for a
variety in sounds. The drums are very low down in the mix- especially as the
vocals and guitar are so loud, and sound very loose; at times almost like a
child’s toy drum set. <o:p></o:p></div>
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<br /></div>
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The songs themselves all follow a fairly set pattern, simple
structures, no fancy playing, pseudo-socially relevant lyrics, and a few catchy
hooks- the chorus in Race Relations is a good example of this- and a humorous take on real-life subject matter. <o:p></o:p></div>
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<br /></div>
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Overall, it’s an enjoyable album, and with a slightly
tighter production, and a bit more variety in the writing, a next release could
be really good.<o:p></o:p></div>
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<br /></div>
<br />
<div class="MsoNormal">
6/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-85911268879676580872013-06-06T09:50:00.004-07:002013-06-06T09:50:26.784-07:00Sleekstain- Hard<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4iR1g2nmeLflh-fiAYvopzA3-Q3CXunJvOsUu0wyu6qcOM1UowRAHRSD-1OD0q_94GZ4HDlvrphY2CBr7cOInzWfLHeIYTrGqM-UjJi0jujJINeuIPTwX1OezpJIOgnlMDbM8m8azcs0/s1600/SleekstainHard.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4iR1g2nmeLflh-fiAYvopzA3-Q3CXunJvOsUu0wyu6qcOM1UowRAHRSD-1OD0q_94GZ4HDlvrphY2CBr7cOInzWfLHeIYTrGqM-UjJi0jujJINeuIPTwX1OezpJIOgnlMDbM8m8azcs0/s320/SleekstainHard.jpg" width="320" /></a>Opening in the way they intend to go on, Sleekstain’s latest
release of pure, un-diluted rock and roll channels the energy of classic acts
whilst remaining individual and modern.<o:p></o:p></div>
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<br /></div>
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The music on <i>Hard</i> is
all no-frills and stripped down. What solo sections there are are kept short
and sweet, only as added sections to compliment some of the songs, rather than
as compulsory, elongated areas for the players to show off for long stretches.
However, this does mean that the songs can get repetitive and samey, with very
little change in the texture or overall sound of the individual tracks. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The 10 tracks on the album are all high in energy and are
intended to be played at a loud volume. The songs are melodic riotous,
good-time rock and roll party tracks which showcase the bands ability to write
uncompromising songs and great, catchy riffs, along with hooks and melodies
which are instantly memorable and inspire you to sing along.<o:p></o:p></div>
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<br /></div>
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Overall, it’s a catchy album, full of good-time songs and
soarin melodies. However the lack of variety can make it seem repetitive and
samey. Despite this, track for track, the songs are all storming rock belters. <o:p></o:p></div>
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<br /></div>
<br />
<div class="MsoNormal">
6/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-46771882423000220572013-05-23T09:14:00.002-07:002013-05-23T09:14:26.762-07:00Marius Neset Live @ Brighton Dome Studio Theatre 04/05/13<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQ9xP0QXnJsHe8Q36OKpTwA0mW1NPJwNXYVgI1F-gbw3T5xGzbb_o-03tvdsuW8hnrNs0DGTvv2dlYMfPSp-gS1Hf9QzulqOtHihILvvWZX85uzq9CjiDVQGOJLilIjcKg78UjPk0ZiQ/s1600/Marius+Neset+11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQ9xP0QXnJsHe8Q36OKpTwA0mW1NPJwNXYVgI1F-gbw3T5xGzbb_o-03tvdsuW8hnrNs0DGTvv2dlYMfPSp-gS1Hf9QzulqOtHihILvvWZX85uzq9CjiDVQGOJLilIjcKg78UjPk0ZiQ/s320/Marius+Neset+11.jpg" width="320" /></a>European jazz came to Brighton for the first day of the 2013
Brighton Festival. For the second year, Marius Neset and his quartet brought
their modern sound to a packed out Dome Studio Theatre. <o:p></o:p></div>
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<br /></div>
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Performing mostly numbers from his latest album <i>Birds</i>, the selection of numbers showed
off Marius’ virtuosity on both Soprano and Tenor saxophones in equal measure.
The songs took inspiration from post-bop players such as Wayne Shorter and
Michael Brecker as well as classical music like Stravinsky and Steve Reich.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The set showed off Neset’s solo playing outside of the
quartet too, as he explored he full range of the saxophone’s sonic range, from
low, multi-tones through to piercingly high altissimo notes. The speed and
accuracy of the playing was dazzling, performing complex passages with ease.
Neset was also able to take a step out from the limelight, occasionally moving
over to the side of the stage to allow the other members of the band to take
priority for keyboard and bass solos. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The whole band really got into the groove of the music,
giving an energetic performance, showing an improvisational ability and
spontaneity which, combined with their togetherness as a group really showed
the way in which the quartet reacted and interacted as a group.<o:p></o:p></div>
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<br /></div>
<br />
<div class="MsoNormal">
If jazz and experimental, self-reflective instrumental music
if for you, then definitely check out this young musician.<br />
<br />
(Pic from airartistagency.com)</div>
<div class="MsoNormal">
<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-11914114325222902912013-05-23T09:04:00.003-07:002013-05-23T09:15:14.549-07:00Marius Neset- Birds<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgurDD4ZGPNR8Ma0neVJdQP5I-bWUPPlIC3iPhV5Gc9dvgVekXiM4BcMlkmD6my7sFEvCPnz3wlRkd0l3-LgUyVAotvyMzTh6qL7syQYhAHMaET-si1keq3m7HKPfX0iRKaXykQ_oIKT3w/s1600/Marius+Neset.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgurDD4ZGPNR8Ma0neVJdQP5I-bWUPPlIC3iPhV5Gc9dvgVekXiM4BcMlkmD6my7sFEvCPnz3wlRkd0l3-LgUyVAotvyMzTh6qL7syQYhAHMaET-si1keq3m7HKPfX0iRKaXykQ_oIKT3w/s320/Marius+Neset.jpg" width="320" /></a>This second album from rising Norwegian saxophone star Marius
Neset show off all of the aspects of his playing and compositional styles which
have enabled his ascent in the European Jazz scene.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On all tracks, the angular melodies, long, flowing runs and
long, solo passages all flow smoothly frim under his fingers, whilst supported
by an expert rhythm section. Neset’s Tenor and Soprano playing here alludes to
his wide range of influences- from Michael Brecker to Stravinsky. The playing
is inventive and experimental in places, whilst retaining a style which harks
back to earlier players, providing a range of sounds and using repeated
passages overlapped with each other to create exciting soundscapes- as can be
seen from the immediately compelling title track <i>Birds</i>, which shows off all of the wide technical skills of Neset’s
playing and those of his quartet. <o:p></o:p></div>
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<br /></div>
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The album contains a good balance of more aggressive tracks
such as <i>Boxing</i>, and lighter, more
flowing numbers like <i>Reprise</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
The invention and originality of Neset’s playing seems to
leap out of the speakers and definitely compels you to listen to the album over
and over again.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
8/</div>
10Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-78077652532073428262013-05-18T08:21:00.002-07:002013-05-18T08:29:50.495-07:00The Skints, Is Tropical, Thumpers & Blaudzun @ The Komedia, Brighton 16/05/13- The Great Escape Festival<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg43VGQe2uaUYaNM0yK2p-JPvIK3JWPwbGmuRfica-30GwmKC_eh1ftLAur9OB3-lqOjtrmpqTVsCc1pEvyMSK3xnTFASoyIKAm83ul-XX5J2-fGUvtNXUyD_t2oekN0LhlCPDAoMJr2c/s1600/The+Skints.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg43VGQe2uaUYaNM0yK2p-JPvIK3JWPwbGmuRfica-30GwmKC_eh1ftLAur9OB3-lqOjtrmpqTVsCc1pEvyMSK3xnTFASoyIKAm83ul-XX5J2-fGUvtNXUyD_t2oekN0LhlCPDAoMJr2c/s320/The+Skints.jpg" width="226" /></a>The first evening of Brighton’s Great Escape Festival was in
full swing when the acts scheduled for Komedia kicked off their night. The
sheer diversity on offer from one venue over the course of the evening was
astounding, from folk-infused pop, to noisy punk-dance through to dub-reggae,
there was something for everyone, and, as the ever-changing makeup of the audience
suggested, each group had their own fan base out in force.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
First up, representing Holland for the evening was Blaudzun,
a seven-piece group who mixed folk music and instruments with uplifting pop
melodies, to create an uplifting and joyous set. The group had obviously won
some fans earlier in the day at a previous gig the played in the city, as many
in the audience had been so impressed by the first show that they felt a second
time was a must. Between the various members in the band, the range of
instruments played was staggering, all of them playing at least two or three
different instruments (mandolins, banjos, trumpets, accordions and electric
violins were amongst the instruments which were brought out at one time or
another.) The band’s sound varied from uplifting pop-ish tracks, complete with
folk-dance rhythms, to lighter sounds which the various extra instruments gave
interesting textures to- creating washes of music which flowed over the
audience, creating an ethereal atmosphere. It is not hard to imagine,
especially with the make-up of the contemporary charts, this band- the project
of Johannes Sigmund, his brother, and various others- rising in fame and
popularity, with many of the songs sounding similar to various tracks which
have shot into the public consciousness on the back of advertising campaigns. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Band two was London group Thumpers. Their brand of safe, commercial
pop which seemed to have less depth than a puddle in the desert, and seemed
devoid of much in the way of meaning and thought, won them a small following.
The tracks were fairly similar and basic, following more clichés and set
formulae than what constitutes “radical new music” than can be found in an
issue of NME. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next up, Is Tropical came to the stage in a blaze of
distorted guitars, leather, punk-rock attitude and technical difficulties when
it took a while for them to get their microphones to work properly. This
additional frustration, however, seemed only to fuel further their angry
mixture of rock and synthesised beats, which gradually increased as their
curtailed set progressed. The trio, which was expanded by the addition of an
extra singer for their final track, performed tracks which mixed thrashing
guitar chords, brief solo passages and heavy drums with synth beats, meaning it
took a short while to get used to their unusual sound, but once it was in full
flow, it was hard not to enjoy their infectious grooves.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The final group was London dub-reggae outfit The Skints, on
the first of their two Great Escape shows. The band’s urban, reggae sound,
mixed with rapping and ska flavours has won them a large following over recent
years, and the club was packed with a full audience, all skanking the night
away. It was hard to remain still as The Skints’ upbeat rhythms kept up at an
unrelenting pace. Three of the four members at various points took to the mic,
each of them with a totally different vocal style, each of which perfectly
suited the style of tracks they were singing- from melodious, slow dub-reggae,
to rapid-fire ska to rapping over the Jamaica-meets-London mix. This melange of
grooves and funky tunes made for a fantastic end to the night, far and away the
best band on the bill, offering funky grooves and great sing-along tunes.
(Although a brief attempt by an audience member at crowd at a stage
dive/crowdsurf met with minimal success). <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
By the very nature of the Great Escape Festival, audiences
are very fluid, moving from venue to venue to see different bands on different
bills, which meant that the different groups and subcultures who flocked
through the doors of Komedia on Thursday evening each brought with it a new
atmosphere and a different energy- each in itself interesting to watch- giving
the different bands appreciation. Although it would have been an interesting
experiment to have the same audience stay in for all four of the evening’s
bands, as at a standard gig as opposed to a festival event, to see what dynamic
would emerge then.</div>
<o:p></o:p><br />Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-69130022784245336922013-05-14T08:34:00.000-07:002013-06-16T15:34:33.813-07:00Ingrid Laubrock Anti-House- Strong Place<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsW8jDVHOHQQc-r3dVHTIL3A-x8EBkLz1vQOWtgx1J5nIFg_hwnWpFCuS_wGCiIn7Yoq2RhkLoyTp0CzYZFUxLbSLTfO11nOTv5jNgRio2wGKXJUg1m2JoyyHYGybAFLsHdCnlMPCZ4I/s1600/strong-place-ingrid-laubrock-anti-house.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsW8jDVHOHQQc-r3dVHTIL3A-x8EBkLz1vQOWtgx1J5nIFg_hwnWpFCuS_wGCiIn7Yoq2RhkLoyTp0CzYZFUxLbSLTfO11nOTv5jNgRio2wGKXJUg1m2JoyyHYGybAFLsHdCnlMPCZ4I/s320/strong-place-ingrid-laubrock-anti-house.jpg" width="320" /></a>The lines between composition and improvisation have always
been ones which jazz musicians seek to blur- from the melodious lines of Louis
Armstrong and Miles Davis, to the flights of technical expertise of Charlie
Parker and John Coltrane- the improvisational side of jazz has always been
important, and on this latest album from multi-national ensemble Anti-House, led
by saxophonist Ingrid Laubrock, definitely adds to the blurring effect.<o:p></o:p></div>
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The tracks on <i>Strong
Place </i>are a series of compositions which incorporate jazz playing with
avant-guard techniques, and inflections of world music. The mixture of flowing
melodies which seamlessly merge and combine with sometimes halting, stuttering
rhythmic patterns and extended use of harmonies serve to accentuate the heavily
improvised nature of the album and to make the individual tracks all distinct,
whilst allowing a constant darker feel underlying the whole album.<o:p></o:p></div>
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The tracks are all of a length which allows all the members
of the group space to play. This means that the album has a very organic,
almost ethereal quality to it. <o:p></o:p></div>
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The musicians all make use of added techniques on their
instruments, other than just playing normally- the guitar is played with the
tuners, the saxophones squeak and rumble and the piano is played in a percussive
style. All of this combines to make an exciting, eclectic and interesting
collection of tracks.</div>
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8/10 </div>
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<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-41312295471620861822013-05-09T11:58:00.001-07:002013-05-09T11:58:12.529-07:00Ant Law- Entanglement<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFRqhlcuAQYe0SGgPUBermJSoB3QDuceJin0iHxSRRTrSyUedkjl940bQB60P0KEN3Hr_wTycHwsuEf8T6FinhyphenhyphenShae2VpjKV_JUG3Arig2xhyphenhypheni0t0nZQTl5sXUJcg2PL7-y9IWGThFE/s1600/Ant+Law.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFRqhlcuAQYe0SGgPUBermJSoB3QDuceJin0iHxSRRTrSyUedkjl940bQB60P0KEN3Hr_wTycHwsuEf8T6FinhyphenhyphenShae2VpjKV_JUG3Arig2xhyphenhypheni0t0nZQTl5sXUJcg2PL7-y9IWGThFE/s320/Ant+Law.jpeg" width="320" /></a></div>
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Mixing a virtuosic technique which takes as much from rock
shredders as it does from past masters of jazz guitar, <i>Entanglement</i> gives an interesting and exciting selection of tracks
which show off a stunning array of styles and techniques. The album feels like
more of a whole band effort at times more than a solo release, with guitars
being used heavily for rhythm playing as well as lead lines.<o:p></o:p></div>
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Ant Law doesn’t hog the spotlight at all on various tracks
other members of his group step up to the plate and take the lead- the sax is
prominent on opener ‘Kanda Jhati’, while the piano offers a rippling wash of
notes over the top of ‘Entanglement I- Janus and Epimetheus’. Both these tracks offer different flavours. ‘Kanda
Jhati’ in an unusual, groovy piece, feature swinging guitar and sax solos,
whilst ‘Entanglement I’ is much more relaxed and has an ancient quality to it-
utilising lots of guitar chords, wind drones and a more laid-back beat. The group nature of the album continues, with ‘Silver’
featuring a bass solo accompanied by minimalistic guitar chords. </div>
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<o:p></o:p></div>
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The way in which the album allows the whole band to stretch
their musical legs through melodies and solos without keeping too much focus on
Ant Law’s guitar gives it a much more rounded scope than is often the case with
solo releases. When Ant Law is the focus, however, the playing is fantastic, a
great young jazz guitar talent.<o:p></o:p></div>
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8/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-60606247629735896942013-05-05T05:53:00.001-07:002013-05-05T05:53:27.778-07:00CrashDiet, Jettblack, Sleekstain, Hell in the Club, Fallen Mafia Live @ O2 Academy Islington 27/04/13<br />
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Most tours have their share of ups and downs along the road.
Tragedies and excitement usually come in equal measure, however on the last
full night of CrashDiet’s Savage Playground tour, the unfair
amounts of tragedy which had stalked this particular group of bands (The tragic
death of CrashDiet’s manager barely
a week earlier whilst looking around one of the tour venues) was evident in the
atmosphere of the venue, but this didn’t prevent any of the acts from putting
on a fantastic show.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgg-PWstfHxrMI8AI-lF7yGQgCJt4BYZRfwV6mbJbrnPa3lSXuC5cvXDJ1oA4fnukzsbENfXcLgiPaHxyBgszqr3FVVqQ1b35M-sf5r_pKwradx090ibGBUzQEhz02AVhswNo0pJbfvY/s1600/Fallen+Mafia.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgg-PWstfHxrMI8AI-lF7yGQgCJt4BYZRfwV6mbJbrnPa3lSXuC5cvXDJ1oA4fnukzsbENfXcLgiPaHxyBgszqr3FVVqQ1b35M-sf5r_pKwradx090ibGBUzQEhz02AVhswNo0pJbfvY/s320/Fallen+Mafia.JPG" width="320" /></a><o:p> </o:p></div>
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First up on the bill were Fallen Mafia, a female-fronted hair metal act from Newcastle. This
band gave a high energy show, full of motion and heavy riffs, which began the
show with exactly what was to follow. Fallen
Mafia<b> </b>churned out fast-paced riff after fast-paced riff, showing off their
brand of hard and fast rock and roll. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyix4kIAeBUEbBpQVixWfuSq_sGzscckXHoNtocorig1ERA-ZpwJ3SM2wMeuH5bMTMCoAy2NADn38A1rkQIZqVVkxeEo9G9lSjQ2OmVZw6oCG5V27s7LT14jpeVdHHfJzr-jmV3604YU/s1600/Hell+in+the+Club.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyix4kIAeBUEbBpQVixWfuSq_sGzscckXHoNtocorig1ERA-ZpwJ3SM2wMeuH5bMTMCoAy2NADn38A1rkQIZqVVkxeEo9G9lSjQ2OmVZw6oCG5V27s7LT14jpeVdHHfJzr-jmV3604YU/s320/Hell+in+the+Club.JPG" width="320" /></a></div>
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Italy’s<b> Hell in the
Club</b> were the next to take to the stage, showing off their own take on the
much maligned genre of melodic glam metal. (for some reason these days known as
“sleaze metal”) The songs were uniformly exciting, melodic and powerful,
exciting the growing audience, and adding fuel to a growing belief that there
is still a future for melodic metal. The band’s repertoire of upliftingly
anthemic songs won them the audience, and it was evident from the sheer
frenetic energy on stage that a good time was had by all.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZNVjfue3o3A9V_pWiQg4L5oRpOpB15UH24MWPsDnnYMTbbbWW_nf-vAuYcNFzeb7sNZAjD2jBFHZqOcgkHKoRhIWj-v8P6x_7Kf3CIOFiTkIf23Sy9RCCOVoi-T44WQGvcALS99mAnSc/s1600/Sleekstain.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZNVjfue3o3A9V_pWiQg4L5oRpOpB15UH24MWPsDnnYMTbbbWW_nf-vAuYcNFzeb7sNZAjD2jBFHZqOcgkHKoRhIWj-v8P6x_7Kf3CIOFiTkIf23Sy9RCCOVoi-T44WQGvcALS99mAnSc/s320/Sleekstain.JPG" width="320" /></a>Last of the “support acts” were French rockers Sleekstain and their brand of melodic,
slightly dressed up hard rock. Supporting their new release Hard, Sleekstain’s balls-to-the-wall hard rock set included classic
sounding driving riffs and ballads which made the audience reach for their lighters.
The band’s tight sound brought a touch of a more classic heavy rock sound to
the night, with more bluesy riffs and an exciting brand of rock n roll, as
opposed to the hair-metal which prevailed over the night.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2p5P5tilodRj2r7rM_VgwsPofhx0C0Yj0JNghzyG-juKO67QAzM_QoqCnBY5SQecUMhyBDMwgp5QUwzccYOzlqfsaYqBGumZPUEb8V97xR85C-RHMQ5BHvaOXhGuMMyFeG-7StC7bV4Y/s1600/Jettblack.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2p5P5tilodRj2r7rM_VgwsPofhx0C0Yj0JNghzyG-juKO67QAzM_QoqCnBY5SQecUMhyBDMwgp5QUwzccYOzlqfsaYqBGumZPUEb8V97xR85C-RHMQ5BHvaOXhGuMMyFeG-7StC7bV4Y/s320/Jettblack.JPG" width="320" /></a></div>
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The penultimate band was London’s own Jettblack, mixing their heavy 80s metal riffs with a melodic edge,
complete with a more rocky flavour (and a slightly mixed metaphor), they played
a barnstorming set of catchy rock/metal numbers. Jettblack’s fans were truly out in force, with large numbers of the
audience clad in their t-shirts, and chanting the band’s name long before they
were due on stage, and long after they were off. The band were on top form,
moving around the stage constantly, climbing up onto specially placed boxes for
solos in order to make them stand out even more. The playing was all fantastic-
riffs and solos all leaping out of the band like <span style="font-family: Times, Times New Roman, serif;">nobody’s <span style="font-size: 11pt; line-height: 115%;">nobody’s
busin</span><span style="font-size: 11pt; line-height: 115%;">e</span><span style="font-size: 11pt; line-height: 115%;">ss. The highlight of the set was definitely the closing number</span></span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">, '</span>Raining Rock’ which had the crowd singing along the whole way
through.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_P4ZYOJYpMXx5iApQTZTM37If84uWeWwtEdL3y8MPuGzKN8IuM941CgBKeKSgyJpPs4b79Ceyoo66QI48J3vGg67DU7j7ywo0C5oN1CPw06y3IuMUDZpCODLZvzRXkdBtQFC-W4C2Ww/s1600/Crashdiet.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_P4ZYOJYpMXx5iApQTZTM37If84uWeWwtEdL3y8MPuGzKN8IuM941CgBKeKSgyJpPs4b79Ceyoo66QI48J3vGg67DU7j7ywo0C5oN1CPw06y3IuMUDZpCODLZvzRXkdBtQFC-W4C2Ww/s320/Crashdiet.JPG" style="cursor: move;" width="320" /></a>Finally, Crashdiet<b> </b>took
to the stage, offering their high paced, high energy, high glam brand of punky
hair metal. Playing a set mostly taken from their new album The Savage Playground churning out some
fantastic melodic tracks which whipped the audience into a frenzy- starting up
the night’s only mosh pits, and encouraging a (shortlived) bit of crowdsurfing
from kids in the audience- coming before singer, Simon Cruz, climbed atop a speaker stack to stage dive as part of
the band’s finale. The emotional significance of the gig on the band was clear
to see, and the sheer energy and the way that CrashDiet<b> </b>played through the show. The crowd was, by this point, at
capacity, and without exception, having a great time- all arms raised and
jumping around as much as the space would allow. Track after track were fantastically
executed, including a short bass solo which was full of a simplicity and
tastefulness which went totally against any concept of a virtuosic solo
segment. Of course their highlight track was the bluesy Cocaine <b>Cowboys </b>which shows off acoustic slide guitar playing as
well as short bursts of harmonica before kicking in as a fantastically over the
top hair metal anthem that simply oozes sleaze and hairspray. <o:p></o:p></div>
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The whole show was a brilliant, energetic, night of
unabashed rock and roll.</div>
<br />
All photos (c) Nick Webb Photography 2013<br />
<o:p></o:p><br />
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-60226175872209700512013-05-02T05:36:00.000-07:002013-05-02T05:36:13.146-07:00Voodoo Six- Songs to Invade Countries to<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCsUUZRJMiM74H-fuxnxgGnN1YiIJjJV0tA8cuvPkjcPd9cKo8QoqSegXazm2oD1Oow0mngbCcVjT4ZWqMxRqgwV8TiTEwU2yMoCZO0ptsH4_j-tve24xwrWehRumagdIJ6VRdllpWws/s1600/Voodoo-Six.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCsUUZRJMiM74H-fuxnxgGnN1YiIJjJV0tA8cuvPkjcPd9cKo8QoqSegXazm2oD1Oow0mngbCcVjT4ZWqMxRqgwV8TiTEwU2yMoCZO0ptsH4_j-tve24xwrWehRumagdIJ6VRdllpWws/s320/Voodoo-Six.jpg" width="320" /></a>Modern rockers Voodoo Six have been championing a form of
all-guns-blazing music which has been recognized by members of the rock and
metal elite from Steve Harris of Iron Maiden to Mike Portnoy formerly of Dream Theater.<o:p></o:p></div>
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<i>Songs to Invade Countries
to </i>provides a great balance between heavy, guitar based epics and melodic
moments which show off a more light-hearted side to the band. The tracks also
have a groove and definite blues-based kick which, along with the fantastic
guitar solos, played with a gnarly tone shows how Voodoo Six are masters at a
very traditionalist form of hard rock.<o:p></o:p></div>
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The vast majority of the album falls firmly into a category of
earthy hard rock, which meld with groovy hooks to create a gritty atmosphere.
The tracks are all strong rockers; riff laden and driving, which keeps the
album moving forward without becoming repetitive. <o:p></o:p></div>
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The album perfectly shows off the musicianship and song-writing
skills of all the band members, offering opportunities for all to shine.<o:p></o:p></div>
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Overall the album is a great rock and roll album which draws
heavily on classic influences, whilst still managing to maintain a modern sound
which allows it to fit in with the 21<sup>st</sup> century’s rock and metal
scene without sounding outdated.<o:p></o:p></div>
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<br /></div>
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8/10</div>
<o:p></o:p><br />
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-6209698143552181602013-04-26T12:20:00.000-07:002013-04-26T12:20:20.037-07:00Voodoo Vegas- The Rise of Jimmy Silver<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNFTv_JVvkcwiDz3p8bGvsohK4OS7zvrrXunWpIfD_NysVgNfoHi76lcQvwmeyQIuhFV7HuGQIulIjbJpfg5ZBGoMowmm5a88_JAthTF-vglExun2vWt1cU7Ou2gkMvXaYD2piuvTP_gk/s1600/Voodoo+Vegas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNFTv_JVvkcwiDz3p8bGvsohK4OS7zvrrXunWpIfD_NysVgNfoHi76lcQvwmeyQIuhFV7HuGQIulIjbJpfg5ZBGoMowmm5a88_JAthTF-vglExun2vWt1cU7Ou2gkMvXaYD2piuvTP_gk/s320/Voodoo+Vegas.jpg" width="320" /></a><i>The Rise of Jimmy
Silver</i> is the new release from young blues rockers Voodoo Vegas. Their
brand of high-octane guitar rock is both melodic and heavy at the same time.<o:p></o:p></div>
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This album is, from start to finish, a storming album. The
11 tracks, including a brief intro and an interlude track, the Voodoo Vegas
definitely have one foot firmly in their roots, with their blues-oriented
tracks talking about girls, cars and folk-heroes. The album even includes a
once-compulsory acoustic track (what happened to the days when every rock band
tried to have one acoustic track on their albums?) The haunting ‘What I Pay’
simply oozes with a spooky, swampy air which sounds like something a 70s
Southern Rock band may have come out with. ‘Ferry Song’ furthers the classic
vibe of the album and the band’s overall sound with a wailing harmonica solo, imitating
train-like sounds and pushing the track along as well as any old-school
bluesman. ‘Lost in Confusion’, a pain-drenched ode to pointlessly lost loves
goes to show that Voodoo Vegas have a softer side, and can write a
heart-rending ballad as well as any 80s arena superstars.<o:p></o:p></div>
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<br /></div>
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This album is a joyous rock and roll romp, which goes to
show that guitar-based music can still kick, yet remain soulful and be played
with plenty of feeling. Definitely a
band to watch out for in the future!<o:p></o:p></div>
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<br /></div>
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9/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-86683826264960365512013-04-21T14:52:00.002-07:002013-04-21T14:52:42.780-07:00Phil Demmel Jackson Guitar Clinic at GAK Brighton 20/04/13<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkxXE84DdRmxKZMBj028V64X5pxycGTKh1qR-2M2k5_QcLcSoKTCad66CyxgqBXzJnM5O3o9mxITfUuf5XJ6JI18IRpn-95zz164VqA2esyBVdRzFhsVuK_WAT_VMHdUYJ53VzuKTfkpQ/s1600/Phil+Demmel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkxXE84DdRmxKZMBj028V64X5pxycGTKh1qR-2M2k5_QcLcSoKTCad66CyxgqBXzJnM5O3o9mxITfUuf5XJ6JI18IRpn-95zz164VqA2esyBVdRzFhsVuK_WAT_VMHdUYJ53VzuKTfkpQ/s320/Phil+Demmel.jpg" width="226" /></a></div>
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A taste of the San Francisco Bay Area came to Brighton last
night, as Phil Demmel, lead guitarist from modern thrash metal band Machine
Head, gave a Jackson guitars clinic at the GAK music shop.<o:p></o:p></div>
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Along with a brief history of Jackson Guitars from the
company representative who has been touring Europe alongside Phil Demmel, the
modern thrash legend gave a brief talk about his guitar playing history, his
influences (announcing his love of KISS), and the players who have inspired him
to play- Angus Young and Randy Rhoads being the most stand out figures. The talk
also traced his relationships with various guitars and members of his bands.<o:p></o:p></div>
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Of course, whilst there, a few Machine Head songs were
played from the extensive back catalogue of tracks that he has worked on, along
with a jam with Chris Cannella from the Jackson guitars workshop. Between these
two players and plenty of choruses of “F**k yeah!” from the audience (complete
with the horns \m/), the spirit of metal was certainly in residence, as huge
riffs and crazy shred guitar solos were in abundance. In that small room of barely 50 people, there
was much more of an intimate atmosphere which helped bring Phil Demmel over as
a really down to earth person who just happens to be in one of the planet’s
biggest metal bands, touring the world. Although weeks on the road seemed to be
taking their toll as my own question to him about musical influences outside
the world of metal (i.e. Would one ever catch him listening to Beethoven or
Miles Davis etc.) spawned a statement of solidarity with Lamb of God’s Randy
Blythe in his manslaughter trial (a worthy cause in itself, but not quite what
I was after as an answer).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After the talk Phil took the time for signings and photos
with all the fans in the building and seemed genuinely willing to take the time
to chat, despite his road-weariness. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-19481246063434200032013-04-19T10:57:00.000-07:002013-04-19T10:57:13.285-07:00Subservience- Ripped in Half<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEEQB9t57jXGcSaUH7c31gEzPsD0bkTUqs85sM_j3W2lBRxPtGZkZqRaGHQn-NAc6rlURGsQUyafFz7Vi7_2isPkF2RjGKoR38JVMqMl2v4FBGdki36d7NcdxwhOZxnTArODP_TTbsgvU/s1600/Subservience+-+Ripped+In+Half+-+cover.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEEQB9t57jXGcSaUH7c31gEzPsD0bkTUqs85sM_j3W2lBRxPtGZkZqRaGHQn-NAc6rlURGsQUyafFz7Vi7_2isPkF2RjGKoR38JVMqMl2v4FBGdki36d7NcdxwhOZxnTArODP_TTbsgvU/s320/Subservience+-+Ripped+In+Half+-+cover.png" width="320" /></a>Brutal, extreme and violent, <i>Ripped in Half </i>is a decleration of war from Brighton-based
metallers Subservience. This 4 track EP shows that British death metal is
healthy and remains a force to be reckoned with on the metal scene.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Subservience’s songs are all fast-paced, riff-led and full
of double-kick drum barrages which never let up. The music is loud and in your
face. The songs are all stripped back and no frills, 3 of them clocking in at
little over 3 minutes, and the bonus track ‘Round 1, Fight!’ is only 10 seconds
long.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are few compromises or areas where they give in to
technical wizardry alone- solos are minimal, and the majority of the album
focuses on the angry, tight sound of the band as a whole. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall this EP is as good as any other extreme metal that I
have heard recently; completely brutal, understated and unrelenting. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
7/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-60519568862384127952013-04-19T08:29:00.001-07:002013-04-19T08:29:11.569-07:00Diemonds- The Bad Pack<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeSKNgujr8YKmp57nl7ECSjh9YY1kBtv3gxfu_8cgkbfm90v0p5GMKQmblEBKji6jkCUnU77mq-kLF29z3g3XlO39VQkuhErf-nwSo3IWp4cE4sAIZq3bF6D3g5Faur2PnQSs2gP5BzFA/s1600/Diemonds.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeSKNgujr8YKmp57nl7ECSjh9YY1kBtv3gxfu_8cgkbfm90v0p5GMKQmblEBKji6jkCUnU77mq-kLF29z3g3XlO39VQkuhErf-nwSo3IWp4cE4sAIZq3bF6D3g5Faur2PnQSs2gP5BzFA/s320/Diemonds.jpg" width="320" /></a><br />
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
This female
fronted Canadian hard rock outfit is yet another example of a modern resurgence in
music steeped in the legacy of 80s American hard rock and heavy metal. Full of
driving riffs and loud choruses, <i>The Bad
Pack</i> definitely has the feel of a good-time metal album.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Infused with a punky attitude, but retaining the more metal
side of the music, from the “widdly-widdly” (technical term there…) solos,
through to the spandex and hairspray, Diemonds are definitely takes a modern
look at hair metal, whilst creating a different attitude with the use of a
female singer. The songs don’t try to do anything mind-bending and drastic to
their genre, however, they provide a definite shot of ‘Loud N’ Nasty’ energy to
it, and don’t seem to take themselves too seriously, acknowledging that it’s fun, noisy party metal which is great for a
good time. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The songs on <i>The Bad
Pack </i>stick with the traditional themes which are followed in classic metal-
night time parties, escapism and generally having a good time. The music is
also very much what you would expect- fast paced riffs, melodic lead guitar
lines, over the top solos and chugging rhythmic patterns. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall, whilst the invention is kept minimal, Diemonds have
produced a bombastic album that’s full of pure, good old fashioned rock music.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
8/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-34374824123587189862013-04-19T08:01:00.000-07:002013-04-19T08:01:54.869-07:00Pink Narcissus- Blood on the Page<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBXRKd88XjIMt_eutYikgypdevg8wiZsbsMZh2shQ5O5SX7PTjr-Ujal_GPfXoy08oF_9yk3AT5N8JlJeJZGn_KLJT941qGoq2ivY83pmA7K3DGe83VRwHqRqaoP6jOPCa7HumrfHm7M/s1600/Pink-Narcissus-Blood-On-The-Page.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBXRKd88XjIMt_eutYikgypdevg8wiZsbsMZh2shQ5O5SX7PTjr-Ujal_GPfXoy08oF_9yk3AT5N8JlJeJZGn_KLJT941qGoq2ivY83pmA7K3DGe83VRwHqRqaoP6jOPCa7HumrfHm7M/s320/Pink-Narcissus-Blood-On-The-Page.png" width="314" /></a></div>
<div class="MsoNormal">
Described as “David Bowie meets Rage Against the Machine”,
Pink Narcissus’ album <i>Blood on the Page </i>does
provide a heavy dose of noisy, artsy rock music, which matches the poetic
vocals and deep voice of David Bowie and a heavy, electric side with a funkier
edge, which is more associated with Rage Against the Machine.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Full of fuzzy guitars and experimental sounds using
feedback, the album provides a heavy rock riffs and rapid beats, whilst
covering it with semi-choral lines and a frantic style of singing which brings
across an eloquent form of anger and angst which is more effecting than other
forms of “angry” music.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The six tracks presented on <i>Blood on the Page </i>are an interesting mixture of heavy, effects
laden rock, complete with nods to more synth based styles from the 1980s, which
makes the album engaging and eclectic. Pink Narcissus’ songwriting allows for
massive changes in feel, tempo, and style, even within songs, with ‘The Great
Divide’ alternating between heavier sections and occasional melodic areas. ‘Kingdom
of the Blind’ also, starts with a series of seeming noises before a stricter
rhythm begins, whilst a powerful bass which gives more than a passing nod to
more electronic forms of music slowly builds up. This creates a powerful and atmospheric
piece of music which really shows off the experimental nature of the band.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall, this is an interesting album, with off
kilter-rhythms and occasionally disturbing sonic passages.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
7/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-81201575939376779332013-04-12T16:17:00.000-07:002013-04-12T16:17:04.158-07:00Spock's Beard- Brief Nocturnes and Dreamless Sleep<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_Eao1Yc4NpY9fWqtK1Y8d5tzk5Z_VJ7fKMpPXDhSofK_jwj5xe-qtPWFjPe40kF313JlVhg_boP7YWoB6C5El6JaGoL84raG-yKg6mia1_As4MjmgBlO-s2x6FYvJGyFrol79jkCF24/s1600/Press_Cover_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_Eao1Yc4NpY9fWqtK1Y8d5tzk5Z_VJ7fKMpPXDhSofK_jwj5xe-qtPWFjPe40kF313JlVhg_boP7YWoB6C5El6JaGoL84raG-yKg6mia1_As4MjmgBlO-s2x6FYvJGyFrol79jkCF24/s320/Press_Cover_03.jpg" width="320" /></a>Complex, atmospheric, yet undeniably heavy, this new release
from a leading light in the Prog world doesn’t let down fans of odd time signatures
and ever-changing song structures. None of the songs on the album clock in at
any less than 5 minutes long, which means that within each song, there is
plenty of room for every member of the band to stretch their musical legs. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is hard for a band to replace any member, however the
greatest challenge or both band and listeners must be a change in singer. However
new boy Ted Leonard does a great job as replacement for Nick D’Virgilo,
continuing with the soaring, melodic vocal lines which are a staple of Spock’s
Beard’s style and retaining the spirit of classic Progressive bands which Spock’s
Beard hold as their obvious influences. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Each track’s length means that there is able to be a definite
sense of development; many of them starting with a more relaxed feel, gradually
building to a climactic section of riffs and solos. The track ‘Afterthoughts’
even includes an a cappella refrain, just to add something even more different
to the mix.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall, the album is great for a more interesting,
challenging take on rock music. The mixture of atmospheric sound effects and
technical passages allows for a great blend of modern sounding and more
traditional styles of progressive music. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
8/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-50489084179241945212013-04-12T06:41:00.001-07:002013-04-20T07:41:36.476-07:00Sacred Mother Tongue- Out Of The Darkness<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNuNwax9cubSJuZ8Uw2QYs80LGG8eHV5tKm9-bjhZf6G70HoWPt1Q9Ml5I8lc0X6oHOoEgHLFa9bHZZSZaZKsEBXIk_q4kzawtRDe0P_bOeeVUdRxR7OobH3tGm1DU0GTmG_i8misFVA/s1600/Sacred+Mother+Tongue.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNuNwax9cubSJuZ8Uw2QYs80LGG8eHV5tKm9-bjhZf6G70HoWPt1Q9Ml5I8lc0X6oHOoEgHLFa9bHZZSZaZKsEBXIk_q4kzawtRDe0P_bOeeVUdRxR7OobH3tGm1DU0GTmG_i8misFVA/s320/Sacred+Mother+Tongue.jpeg" width="320" /></a>High speed heavy metal, thrashing riffs and insane guitar
solos, it’s no wonder that people are saying that Sacred Mother Tongue are a
band to watch. This second release continues in the same vein to which fans of
SMT are used to.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Every song is a high-speed exercise in precision riffing,
and the quality of the guitar solos (of which there are a great many) shows
that it is no wonder that guitarist Andy James has been nominated as “Dimebag
Darrell Shredder of the Year” in 2013’s Metal Hammer Golden Gods awards. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The band shows off an ever more complex writing style, with
riffs which require a great deal of rhythmical interplay, along with heavier,
slower sections in which the whole band falls into a solid groove. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A standout track which shows off all of this is ‘Seven’.
Opening with an extended instrumental introduction section in which the tight
rhythmic playing of the band, followed by a burst of technical guitar virtuosity. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Between verses, the band falls into a tight-knit groove, guaranteed to get
heads nodding along, fists pumping, and generally infusing the listener with as
much energy as is evident on the album.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Really though, there seems to be little variety in the way
Sacred Mother Tongue writes songs. Many of the tracks are of a very similar
high speed, and follow the same formula which, by the end of the album can seem
to have become a little tired. The good
thing about this though, is that the tracks are all great numbers, and any of
them stand alone as great examples of modern heavy metal.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
9/10<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-83232849197443037482013-04-11T09:36:00.000-07:002013-04-11T09:36:36.648-07:00March The Desert- March The Desert<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-ehNE_KHb0wfuIsPAsFfXf3M7U1gSmQ7xc33b4AbF-B0ojiwIJ0siPPNWu5lrFZSL6Q3QT_nMsT5yzZO4aNAEQ88izuwq_Tvp975FIU344R7IuaN9SJ-BsNwmA0VxOUUC3gWoK-5hdA/s1600/March+The+Desert.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-ehNE_KHb0wfuIsPAsFfXf3M7U1gSmQ7xc33b4AbF-B0ojiwIJ0siPPNWu5lrFZSL6Q3QT_nMsT5yzZO4aNAEQ88izuwq_Tvp975FIU344R7IuaN9SJ-BsNwmA0VxOUUC3gWoK-5hdA/s320/March+The+Desert.jpg" width="320" /></a>March The Desert’s latest release contains all the
trademarks of the psychedelic metal which they claim to be attempting to
emulate. Thick, distorted guitars playing groovy, slow riffs give the music a
bounce, whilst the harsh vocal sound suits the science-fictional element of the
lyrics. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The production side of the <i>March The Desert </i>EP leaves a lot to be desired. The vocals are at
times overpowered by the rest of the band, which has a muffled sound, and at
points the words are incomprehensible- even when they’re not meant to be. The
whole album sounds very compressed, and could do with being made a lot clearer
sounding. The drums at times blend completely in with the rest of the sound,
which means that the album seems to lack the punchy rhythm that would hold the
album together. The cymbals however seem to be left in prominence, creating a
splashing, rhythmic sound which highlights the minimal drumming. In the points
where the drums can be heard, they sound very loose and spongy, lacking any
kick or punch. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The tracks have a slow, bluesy groove feel that has been
drenched in distortion and various effects, giving the songs a trippy, stoner
rock feel. These 6 long tracks all have a very similar feel: Slow and laid-back
with a heavy, doom attitude. From time to time, the band let’s go and begins to
show a technical side, <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall, the album
has some fairly large production issues which seriously detract from the actual
content. Musically, the band seems tight, but if felt like many of the tracks
were using recycled ideas as the tracks lacked lots of individuality. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
4/10 <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-31985486727023264202013-04-11T06:01:00.002-07:002013-04-11T06:03:38.559-07:00Live Review- The Von Hertzen Brothers @ Assembly Hall Islington 05/04/13<br />
<div class="MsoNormal">
Whilst a room attached to a town hall doesn't immediately
look like it lends itself to being a venue for a rock gig, Islington’s Assembly
Hall gave the event a sophisticated atmosphere.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-YG-0sg6FU3mz2b1_H4xAJh25rMTnZXLi8MgnEYAe7YmZmWG93bjK24WyEfxRa9pse81Ak-w4_PBwJjyD-S89zs0G5t-INvDyspS2o2pWhu0CXCKSZcG2AoyQ6LwqvC6YauRQaoOtho/s1600/DSC_4288.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-YG-0sg6FU3mz2b1_H4xAJh25rMTnZXLi8MgnEYAe7YmZmWG93bjK24WyEfxRa9pse81Ak-w4_PBwJjyD-S89zs0G5t-INvDyspS2o2pWhu0CXCKSZcG2AoyQ6LwqvC6YauRQaoOtho/s320/DSC_4288.JPG" width="320" /></a>Opening up the proceedings were Barbe-Q-Barbies, a Finnish
all-girl rock band. This seemed like an odd choice in comparison to the other
two acts- playing more straight-up rock and roll with a mixture of punk and
glam thrown in for good measure. Their set was fast paced and full of energy,
with no frills attached. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjITGHncs5A99ecQO8OeC8vQFwMHbzmYvuDOdapJaUL7HA9x2sZ-UJusSPe6NbPCwJkJZzN-tZ48HrKCI_olmgQoBIsi0h65fGku0iUHGKXU6FgKg7-JPFX0jfT0GEyjXR0AoBJHYQXYsI/s1600/DSC_4372.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjITGHncs5A99ecQO8OeC8vQFwMHbzmYvuDOdapJaUL7HA9x2sZ-UJusSPe6NbPCwJkJZzN-tZ48HrKCI_olmgQoBIsi0h65fGku0iUHGKXU6FgKg7-JPFX0jfT0GEyjXR0AoBJHYQXYsI/s320/DSC_4372.JPG" width="320" /></a>When Haken took to the stage with their complex and highly
involved music, the atmosphere became more serious. With their faces set in concentration, it was still plain to see that
they were revelling in their constantly evolving and changing music. The music,
which took ideas of progressive rock and metal music, with the added element of
instrumental Jazzy, circus-metal breakdowns, during which the singer- following
on the tradition of Jazz musicians- left the stage to allow the
instrumentalists to ha<span style="text-align: center;">ve the full glare of the spotlight. The band’s high level
of musicianship was shown by their use of more unusual guitars- 7 strings and 8
strings, along with a 6 string bass, which added to the texture and range of
the music. Debuting a new track which went down well with the audience, the
constantly changing time signatures still ensuring that people trying to keep
up with the music were kept on their toes.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg22cVSmGm2w-69qA1tI03wc4LSKGYG7HzcWXEgCn4cGH4AuBVGYrPV2o8opapYpivmN3LvqPpLxHtPosJx6AzhoDsmJKVq8vBCBtWD3j1Gp_464_dsOwX6qDg0Ldj2fgdWof6a3V-lldY/s1600/DSC_4975.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg22cVSmGm2w-69qA1tI03wc4LSKGYG7HzcWXEgCn4cGH4AuBVGYrPV2o8opapYpivmN3LvqPpLxHtPosJx6AzhoDsmJKVq8vBCBtWD3j1Gp_464_dsOwX6qDg0Ldj2fgdWof6a3V-lldY/s320/DSC_4975.JPG" width="320" /></a></div>
<div class="MsoNormal">
The Van Hortzen Brothers’ set took in many tracks from their
latest album, <i>Nine Lives</i> as well as
tracks from their earlier releases. Live, the Von Hertzen Brother’s showed that
intelligent music does not have to be flashy or ostentatious, which allowed
them greater freedom of movement on-stage, whilst still playing intricate parts
and taking full use of the vocal harmonies which are part of their trademark
sound. Highlights of the set included an electric performance of the lead
single from <i>Nine Lives, </i>‘Flowers and
Rust’, which proved to the audience that underneath the intricate and exciting
effects played on an old fashioned Moog synthesiser, The Von Hertzen Brothers are
still most certainly a rock and roll band.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(All photos Nick Webb, 2013)</div>
<o:p></o:p><br />Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-5115785024280530442013-04-10T09:22:00.000-07:002013-04-10T09:24:11.743-07:00Live Review- Jeff Scott Soto @ Camden Underworld 06/04/13<br />
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A far cry from the heady days of performing to sold out
stadium audiences, Jeff Scott Soto nevertheless played an energetic and
high-octane gig in Camden’s Underworld nightclub in support of his 2012 solo
release, <i>Damage Control. </i><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIKr0O5E428yAQbdq1e-vksUF0E2Q6MyA-ooAs_uD8MjkkMQReZP1HNWxbalLRmK8WYeKPb3dpHOAa9_2i_tdxtHc_BAZzimoWUnZ8xGSOVnLQ0DVniHr4yGQ4dHarqWa-tk9eTJuF4zM/s1600/DSC_5090.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIKr0O5E428yAQbdq1e-vksUF0E2Q6MyA-ooAs_uD8MjkkMQReZP1HNWxbalLRmK8WYeKPb3dpHOAa9_2i_tdxtHc_BAZzimoWUnZ8xGSOVnLQ0DVniHr4yGQ4dHarqWa-tk9eTJuF4zM/s320/DSC_5090.JPG" width="320" /></a></div>
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The self-proclaimed “Soto-palooza” package of bands with
which Jeff Scott Soto has a direct connection began with Greek glam-metallers
Danger Angel who’s loud and proud brand of metal began the night with a high
energy set. Soto had contributed backing vocals to Death Angel’s most recent
album,<b><i><u> </u></i></b><i>Revolutia</i>,
and it was definitely possible to hear the similarities in the musical styles
of the groups, a similarity which continued right through the whole event. Death
Angel’s music melded melodious vocal lines with cranked up guitar riffs,
blistering guitar solos and a keytarist who’s synth harmonies added an extra
layer to the band’s sound, as well as allowing for an extra body to be running
around the stage at all times. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm_jLZMhPfXTyGDD8tldsaoRrcxMee-_S5xdrhg6sbTwSCbxKaY4rstMnIMemZfk3ZWmODOgis7tyirayO3DYVhBtzHL-ekprRsKuoW7v9EH2ym5dpJRXOt6OfsXig9qkaPCKgpijKoZg/s1600/DSC_5276.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm_jLZMhPfXTyGDD8tldsaoRrcxMee-_S5xdrhg6sbTwSCbxKaY4rstMnIMemZfk3ZWmODOgis7tyirayO3DYVhBtzHL-ekprRsKuoW7v9EH2ym5dpJRXOt6OfsXig9qkaPCKgpijKoZg/s320/DSC_5276.JPG" width="320" /></a>Second on for the night was a trio fronted by Soto’s own
guitarist Jorge Salán. The guitar work for which the band was really the
vehicle was stunning, with Salán firing of solo after insane solo with flair
and showmanship, whilst allowing the remaining sections of the songs to
compl<sup>st</sup>
birthday only a few days before. <o:p></o:p></div>
ement the very showy solo playing which featured so heavily. Impressively,
Salán was able to keep up a strong vocal performance whilst still playing
complex guitar lines. The band was full of old-fashioned rock and roll spirit,
and ended with a rousing rendition of the Gary Moore Celtic<br />
rock classic ‘Over
The Hills and Far Away’, as it would have been the late, great guitarist’s 61<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbxC3K07-FVTtVmXkc-1z8oX0COFdJ_ZIjg463kr1ofku3SG7E1ApcOYy1X5X3LGP4MHQ3glLUXR1FCHEZoh9MDB8snXaMwzr9hYo5lkVNIeVVgdMWbwt3u7OtLdXdTbQUQT82_bv2rU/s1600/DSC_5605.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbxC3K07-FVTtVmXkc-1z8oX0COFdJ_ZIjg463kr1ofku3SG7E1ApcOYy1X5X3LGP4MHQ3glLUXR1FCHEZoh9MDB8snXaMwzr9hYo5lkVNIeVVgdMWbwt3u7OtLdXdTbQUQT82_bv2rU/s320/DSC_5605.JPG" width="320" /></a>The main attraction of the night was, of course Jeff Scott
Soto himself. Fronting his multinational band, JSS delivered a stunning
performance in what he described as a “homecoming gig” in a “second home.” The
set consisted mostly of tracks off his latest solo release, <i>Damage Control</i>, from 2012, (my review of which can be read <a href="http://nickwebbreviews.blogspot.co.uk/2013/04/jeff-scott-soto-damage-control.html">here</a>) but also
featured tracks from earlier in his career. Moving about the stage almost
constantly, JSS was able to engage with his audience a lot better than would be
possible in a bigger venue, giving this sold out gig a more intimate feel. The
only moment that the gig really slowed down was for the brief period that Soto
played keyboards on a mellower track. In a moment of spontaneity, the ‘compulsory’
vocal back and forth was interrupted by a fantastic bass solo from the last
minute stand in replacement bassist David Z, who’s single-handed rendition of
Billie Jean brought a funkier element to the whole event, followed by a
stunning cover of Ozzy Osbourne’s classic ‘Shot in the Dark’. After an epic set which went on for the best
part of 2 hours, and coming against the noise curfew in Underworld, Soto
introduced his friend, Nathan James (made famous on the ITV show ‘Superstar’),
fresh of a tour with the Trans-Siberian Orchestra, which Soto also sings for,
in order to duet on ‘Stand Up and Shout’ from the soundtrack to the 2001 film ‘Rock
Star’, for which Jeff Scott Soto had recorded all of the vocals for the fictitious
metal band Steel Dragon. Finally, the riotous set closed with an a cappella
verse of Steel Panther’s sleaze-metal track ‘Community Property.’ The whole
night was electric, boding well for Soto’s set at Hard Rock Hell AOR later in
the week. <o:p></o:p></div>
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(all photos by Nick Webb)</div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-34078336066366256142013-04-06T07:15:00.000-07:002013-04-06T07:15:00.305-07:00Jeff Scott Soto- Damage Control<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSGFSjzwGtKbXb23oabPaVxvQgXnwgUgW3mCYhxwBy91n7vDUCcFtQpM2eyof4_0JXBlfP8zAYYt5HNpNF7HCq8CEJ5e-g5EtpblGdmPI0bLlA0ZPN0OY8KMfp0onpevPdAh6_gQuWJ4M/s1600/JSS+Damage+Control.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSGFSjzwGtKbXb23oabPaVxvQgXnwgUgW3mCYhxwBy91n7vDUCcFtQpM2eyof4_0JXBlfP8zAYYt5HNpNF7HCq8CEJ5e-g5EtpblGdmPI0bLlA0ZPN0OY8KMfp0onpevPdAh6_gQuWJ4M/s320/JSS+Damage+Control.jpg" width="320" /></a></div>
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Vocalist extraordinaire Jeff Scott Soto, whose previous
credits include Journey, Yngwie Malmsteen, Talisman and W.E.T., released his
latest solo album in 2012. His music remains faithful to the era that he
started in: Loud, brash, 80s rock and metal. <o:p></o:p></div>
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JSS’s voice here is as powerful as it ever is, showing that
despite over 30 years of singing melodic hard rock, he can still hit the high
notes.<o:p></o:p></div>
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The album is well balanced with anthemic, thundering guitar
tracks, complete with shredding guitar solos, and more melodic tracks which are
intended to get lighters rising up in audiences. Track by track, there are few duff numbers, <o:p></o:p></div>
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Although some may label the whole album as radio-friendly
cheese-rock, complete with power ballads and ostentatiousness which wishes that
80s success would once again return- I am partial to 80s bombast, so I am not
going to hold that against the album. However the album does feel nostalgic at
times, almost refusing to acknowledge any musical developments since Arena Rock
stopped getting significant airplay.<o:p></o:p></div>
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Lyrically, the album focuses on standard radio rock themes
of love and cars, with little attempt at lyrical depth, the purpose of the
songs being to get a crowd rocking, not thinking.<o:p></o:p></div>
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Overall, this is an album for the 80s written in the 2010’s.
The album keeps up a rock attitude the whole way through, but does feel at
times very much like a nostalgia album of a star still trying to cling onto a
bygone era. The album isn't bad at all- it just feels a bit cheesy and
nostalgic, and doesn't quite have the same modernised rejuvenation that some
similar artists have managed in recent years.<o:p></o:p></div>
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6/10<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-12146485283570505532013-04-03T11:07:00.000-07:002013-04-03T11:07:52.088-07:00The Von Hertzen Brothers- Nine Lives<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0FAiYxlqWa1PXzwvvAp3FbfCoelo6iaufO0fGLIhyYMshkSKqVkpwS12K2_qkYe0fDGr41h0GDxpK7w_eu2uaEHL6pKMgvaL3ZZedr24h42ZmQuwtZWZWkHhCOjB1-Jq887VHuPsnpg/s1600/Nine+Lives.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0FAiYxlqWa1PXzwvvAp3FbfCoelo6iaufO0fGLIhyYMshkSKqVkpwS12K2_qkYe0fDGr41h0GDxpK7w_eu2uaEHL6pKMgvaL3ZZedr24h42ZmQuwtZWZWkHhCOjB1-Jq887VHuPsnpg/s320/Nine+Lives.jpg" width="320" /></a><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Progressive and melodic, yet at times heavy and more doomy, <i>Nine Lives</i> shows that The Von Hertzen
Brothers have a very broad view of what Rock Music can be. Their compositions
range from atmospheric, Pink Floyd-esque sci-fi trips, to heavy rocking ball
breakers. During all of this mix, however, this Finnish group remain very
melodic and soulful. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The band uses their great musical talents to make interesting
and complex music which doesn't come across as ostentatious or too flashy. They
make use of more interesting scale choices and unusual harmonic progressions
and folky aspects of music from their native Finland. Lyrically, they are
influenced by as diverse subjects as the works of William Blake and Indian
philosophy. Musically, the band relies upon atmospheric songwriting and vocal
harmonies for their progressive edge, staying away from million note solos and
ridiculously fast passages.<o:p></o:p></span></div>
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<i><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Nine Lives</span></i><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"> is VHB’s 5<sup>th</sup>
album, and their biggest to date, coming after 2011’s <i>Stars Aligned</i>, which began to break them in the UK, and gained them
recognition with nominations in the Classic Rock awards.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The album opens with the groovy rocker “Insomniac”, which
shows that the band can remain melodic whilst playing heavy music. This is
followed by the album’s lead single, “Flowers and Rust”, which flows and spins
from light melodies to harder choruses. These differences in styles continue
throughout the rest of the album, each track showing a different side of the
band, yet remaining a coherent whole.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Overall this is a fantastic modern prog album which manages
to avoid falling into many of the traps which contemporary progressive music
tends to fall into (Putting far more emphasis on harsh vocal sounds or being
much more over the top with speedy passages and complex instrumental and solo
sections than is necessary.)<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">8/10<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-55179475735983392082013-04-03T07:52:00.000-07:002013-04-03T07:52:05.292-07:00New Jersey Nights- Theatre Royal, Brighton 30/03/13<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDE272-EkOCCwg72hIBoHPqZJSnvVT0Q9TYKbAODWbYxNCiu_wmczgJ4Eym-Mk1cBAdHF9bM-baO8XTItv4wYi3s-J-YpyTibOeLp-f-IkunLUKaJ5cJvqOaUz19fnPzsA17Yzk0FLJ-k/s1600/New+Jersey+Nights.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDE272-EkOCCwg72hIBoHPqZJSnvVT0Q9TYKbAODWbYxNCiu_wmczgJ4Eym-Mk1cBAdHF9bM-baO8XTItv4wYi3s-J-YpyTibOeLp-f-IkunLUKaJ5cJvqOaUz19fnPzsA17Yzk0FLJ-k/s320/New+Jersey+Nights.jpg" width="320" /></a>Set in a bar in the early 1960s, “New Jersey Nights” brought
the sounds of Frakie Valli and the Four Seasons to Brighton over the Easter
Weekend.<o:p></o:p></div>
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The production showcases the hits of the band, and Frankie
Valli’s solo tracks from the early 1960s right up to their most recent
recordings. From early close harmony pop to more funky and rock and roll
numbers from the 1970s and 80s, the four singers and their band had much of the
audience up and dancing.<o:p></o:p></div>
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The show was, however, stuck somewhere between a tribute act
and a full-blown show, without really being either. The band was mostly hidden
at the back of the stage as if it wasn’t there, apart from the odd number which
featured their saxophone or guitar player, whilst it was still acknowledged
that it was there and still in full view, suited up in order to retain a coherent
image. There was a small troop of background dancers who joined in on many
numbers, but on the songs when they weren’t dancing they seemed to be milling
around onstage, or half playing background characters. <o:p></o:p></div>
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Along with the music of the Four Seasons (As it’s Frankie Valli
and the Four Seasons, doesn’t that mean there should have been 5 of them in
total?) The show also showcased the music of some of the acts which were
closely associated with them in the 60s- other bands which profited from Phil
Spector’s “Wall of Sound”, such as the Crystals and the Ronettes. Their songs
were performed well, although one of the three members was absent from the
performance which I attended which gave their performances and dance routines a
very lopsided feel. <o:p></o:p></div>
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Overall, the performance was all about the music, and was
played more as a tribute show than as a full musical-style show with a plot,
and as such, the songs were well performed (despite a bit of corpsing over
issues with the key in which they sang “Blue Moon”).<o:p></o:p></div>
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6/10<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0tag:blogger.com,1999:blog-684386484932504747.post-29704914399310338252013-04-02T07:49:00.000-07:002013-04-02T07:49:01.672-07:00Vega- What The Hell!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij2drc-eWi50057V5dD56pvVDU6os6rNDpceuETHOC07I5ih1LH2zZiTVbrE6l8-_Awc6Gsg5S08LApDlwI0k9gEDe3-Z8ZnUZQVMCN8-yJ2BkfQ9BLkuW3DuhyphenhyphenxRWuYZOYxlHxC1u0Ws/s1600/Vega.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij2drc-eWi50057V5dD56pvVDU6os6rNDpceuETHOC07I5ih1LH2zZiTVbrE6l8-_Awc6Gsg5S08LApDlwI0k9gEDe3-Z8ZnUZQVMCN8-yJ2BkfQ9BLkuW3DuhyphenhyphenxRWuYZOYxlHxC1u0Ws/s320/Vega.jpg" width="320" /></a><span style="font-size: 12.0pt; line-height: 115%;">Whilst being
kept firmly out of the mainstream, British melodic hard rock is in a state of
great health. The number of new albums being released is increasing and younger
bands are breaking through onto the scene. Vega are at the forefront of this
new rise.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Opening with
an eerie, circus-esque intro, not entirely in keeping with the rest of the
album, Vega really kick in with the second track “White Knuckle.” This track is
a lot more melodic than lots of their earlier work, moving slightly away from
the harder-edged sound, with soaring vocals and thick keyboard harmonies. The
chorus however is a belter, and definitely sets the tone for the rest of the
album. Full of belting tracks, and heavy, melodic riffs, Vega are coming into
their own, creating a loud, brash sound which retains all the big, crunchy
riffs, but extends the melodic approach of the band. Instrumentally, the band
is tight, as musical complexity is not at the forefront of this band’s mind,
which means that the parts are kept stripped down and basic, any solos are kept
short and tasteful. Rather the main focus is on the quality of the songs, all
of which are big and aimed at keeping an audience on their feet.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Overall this
album contains a few gems of songs (“White Knuckle” being a particular
favourite), however there is little variety in the sound, which gives the album
a fairly one-dimensional feel. But it’s pure rock and roll nonetheless.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">7/10<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/10446666237768596669noreply@blogger.com0