Kitten and the Hip- Hello Kitten

Cheesy bubblegum pop, electronic dance music and 20s jazz are just some of the genres which collide in this début release by Ashley Slater and Scarlett Quinn, A.K.A. Kitten and the Hip.

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.

Shake it Out 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 Shut Up and Dance and Don’t Touch The Kitten will be stuck in your head after only one listen.

Hello Kitten 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.

7.5/10

Youngblood Brass Band- Pax Volumi

 

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.

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.

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.

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.

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.

8.5/10

Marius Neset- Birds

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.

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 Birds, which shows off all of the wide technical skills of Neset’s playing and those of his quartet.

The album contains a good balance of more aggressive tracks such as Boxing, and lighter, more flowing numbers like Reprise.

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.

8/

10

Ingrid Laubrock Anti-House- Strong Place

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.

The tracks on Strong Place 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.

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.

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.

8/10 

Ant Law- Entanglement

Mixing a virtuosic technique which takes as much from rock shredders as it does from past masters of jazz guitar, Entanglement 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.

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.  

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.

8/10

Voodoo Six- Songs to Invade Countries to

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.

Songs to Invade Countries to 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.

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.

The album perfectly shows off the musicianship and song-writing skills of all the band members, offering opportunities for all to shine.

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^st century’s rock and metal scene without sounding outdated.

8/10

Voodoo Vegas- The Rise of Jimmy Silver

The Rise of Jimmy Silver 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.

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.

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!

9/10

Subservience- Ripped in Half

Brutal, extreme and violent, Ripped in Half 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.

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.

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.

Overall this EP is as good as any other extreme metal that I have heard recently; completely brutal, understated and unrelenting.  

7/10

Diemonds- The Bad Pack

            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, The Bad Pack definitely has the feel of a good-time metal album.

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.

The songs on The Bad Pack 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.

Overall, whilst the invention is kept minimal, Diemonds have produced a bombastic album that’s full of pure, good old fashioned rock music.

8/10

Pink Narcissus- Blood on the Page

Described as “David Bowie meets Rage Against the Machine”, Pink Narcissus’ album Blood on the Page 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.

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.

The six tracks presented on Blood on the Page 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.

Overall, this is an interesting album, with off kilter-rhythms and occasionally disturbing sonic passages.

7/10

Spock's Beard- Brief Nocturnes and Dreamless Sleep

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.

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.

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.

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.

8/10

Sacred Mother Tongue- Out Of The Darkness

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.

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.

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.

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. 

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.

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.

9/10

Jeff Scott Soto- Damage Control

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.

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.

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,

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.

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.

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.

6/10

The Von Hertzen Brothers- Nine Lives

Progressive and melodic, yet at times heavy and more doomy, Nine Lives 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.

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.

Nine Lives is VHB’s 5^th album, and their biggest to date, coming after 2011’s Stars Aligned, which began to break them in the UK, and gained them recognition with nominations in the Classic Rock awards.

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.

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.)

8/10

Vega- What The Hell!

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.

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.

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.

7/10

CrashDiet- The Savage Playground

This fourth release from Swedish Melodic Sleaze Metallers writhes with the spirit of LA’s Sunset Strip circa 1989, adds a healthy extra dose of punk and a hefty coating of melodic, arena-filling sounds to create a positive soup of good-ole’ rock n roll energy. (I apologise for the half-hearted food analogy, but it got the point across I think)

This latest album, The Savage Playground definitely shows off a much more melodic side of CrashDiet’s sound, without losing any of that hard edged pedigree that people expect of this hard working group. Almost constantly on the road since the release of their previous 2010 album Generation Wild, this album has a more live feel to it, and keeps the edges rough and the sound raw.

The band’s hard rock edge can be seen with sleaze-filled tracks like “Cocaine Cowboys” and “Drinkin’ Without You”, a firm nod to the types of larger-than-life bands who influenced CrashDiet. However, on tracks such as “California” you can hear a much more melodic approach to song-writing (although no less rockin’), complete with catchy choruses and multiple guitar tracks which make the song sound huge and creates a sense that the band has musically matured- not just throwing out heavy riffs- but also writing melodic songs.

Overall, this is a great album, especially if you are looking for something which sounds new, yet would equally fit in with the heyday of 80s melodic rock and metal.

8/10 

Godsized- Time

Mixing heavy riffs, old-school hooks and a certain traditionalist approach to recording- live, full band takes as much as possible- this debut album from the heavy metal beast that is Godsized serves up exactly what their fans have been waiting for. No nonsense, balls-to-the-wall, old fashioned, no frills heavy metal.

As a result of the nature of the recording process, the album has a powerful, raw, live feel to it. However there are places where it feels like the lower frequencies of the album have been slightly muffled.

The album shows a variety of songs, ballads and more up-tempo rockers. All of which are heavy and groove-laden. Full of huge guitar sounds, pounding drums, an ever-present bass line and powerful vocals, the album offers nothing but pure, simple, rock and roll, complete with duelling guitar solos.

Listening to the album, it is easy to hear how they were picked up to tour with Zakk Wylde’s Black Label Society, the powerful riffs, screaming solos and loud vocals reminiscent of many classic metal acts through the ages.

The 12 tracks offered up here clearly show the band’s roots in classic rock and metal, steeped in the lineage of the groups who influenced them, creating an album of truly classic sounding metal, yet managing to remain up to date.

Whilst a head-banging, fist-pumping rollercoaster ride from start to finish, Godsized have not managed to make a hugely innovative album here. However, what there is a definite sign of promise to come, and a taste of their high-energy live shows.

7/10

Wayne Shorter- Without A Net

As far as elder statesmen of Jazz go, you can’t get much higher than Wayne Shorter, an alumnus of Art Blakey’s Jazz Messengers and Miles Davis’ groups for years in the 1960s, as a member of fusion band Weather Report in the 70s and 80s as well as leader of his own successful quartets and bands alongside those, there are few in the world who deserve the term “living legend” as much as Wayne Shorter. This new release sees him return to the renowned Jazz Blue Note label after a 43 year absence, and his first full album since 2005’s Beyond The Sound Barrier Now 80 years old, Shorter’s playing is as inventive and exciting as it ever has been.

This album returns to the post bebop style that Shorter was associated with in the 1960s, a quartet, all playing loose arrangements with plenty of space for improvisation across extended passages. This album sees Shorter playing predominantly Soprano Saxophone with a beautiful, warm tone, flying around the horn with a dexterity that few can match.

Many of these recordings are taken from his 2010 and 2011 live shows, and therefore show the great man at his best- in front of an appreciative audience, baring his soul in a way that only a true improvisational genius can.

It can be said that this music is very self-indulgent and ostentatious and flashy, with long periods of time where the individual musicians are given free rein to play how and what they want (in the context of the improvisation of course, but an article on Jazz theory could go on forever)  at the expense of longer, memorable melodic passages. However the style of post bebop, which is here shown to great effect has rarely been about long melodies. Although, the on “Pegasus”, the quartet is joined by The Imani Winds, giving the track a long, classical feel, almost like an extended piece of chamber music.

This album is absolutely wonderful. A form of Jazz which was close to being consigned to the history books, has made a welcome return. Back to the abstraction and imaginative freedom which years playing with greats like Miles et al has allowed him to practice, Shorter continues to be a truly inspirational player and still shows that what made this music so timeless in the 1950s and 60s is still alive and strong today; it just needed to have the fire rekindled underneath it, which has been done here with great success. Welcome back Wayne Shorter.

9/10

King Tut's Revenge- Finally

This Somerset ska group have Finally released their first album. A collection of summery, reggae and rock influenced numbers. This album is consistently upbeat and lively, keeping the horn riffs and punk-y guitar parts pounding along.

Each track on this album, whilst quite similar, in the way that they are all very heavily punk based ska tracks, including punchy saxophone lines, rhythms that will, in a live situation (or sat in a bedroom) cause any audience to be skanking in no time, the occasional simple yet tasteful solo from any of the members. The opening number, “Not Content” shows exactly how the album pans out, opening with a line that could only come from a ska band, and can only conjure images of summer parties on long, warm nights (exactly the sort of time that British weather rarely offers up). The album allows for all the members to stretch their song-writing wings even, as is proudly advertised in the song title, the drummer, in the great number “Sketch’s Song” (Sketch being the band’s drummer, and drummers often being very much side-lined when it comes to writing songs in many bands).

The highlight of the album is the Anthemic “South Coast Girls”, a ditty singing the praises and virtues of the band’s chosen favourite group of women: Those from the South coast of England (As opposed to The Beach Boys or Katy Perry, all of whom who preferred “California Girls”).

From time to time, there could be those who claim that the tracks can be fairly repetitive, with some of the riffs and tunes being reasonably interchangeable. However, this is as much the nature of the genre of the music; light-hearted ska-punk has never been particularly innovative.

Overall, this is a great first full-length album. The songs are all belters, with great melodies, fantastic riffs, and the whole thing just screams of the summer. Get ready to dance.

8/10

Lazy Habits- Lazy Habits

Mixing Hip-hop beats with New Orleans Dixieland Jazz, Lazy Habits’ sound definitely keeps a mixture of the old and new well and alive.

Opening with an instrumental, New Orleans style funeral march “Processional”, Lazy Habits opens in a calm, sombre style, which is immediately revoked with the first full number, “Ashes”, showing how the group mixes rapped lyrics and brass jazz licks and riffs which creates a hard hitting style and enables the group to get a range of textures, fusing funky bass riffs, and piano melodies with the horns.

“Surface Dirt”, shows a more mellow side of the band, opening with a lilting piano solo before coming in with the rest of the band.

Lyrically, Lazy Habits retain just the hip-hop, rap style of vocals and tend to write about diverse subjects such as modern life, drug problems, and broken families.

The album is, at 16 tracks, a bit long, which means that there are some tracks that feel a bit like fillers, which could be taken out to still leave a fill length album. The tracks follow largely the same pattern, other than the opening and closing instrumental numbers (“Processional” and “Ghosts (On My Way/Small Screen)”- which closes the album in a lonely, melancholic style).

Overall, the album is very well written, and the quality of musicianship good too. But it could have done with a few fewer tracks in order to retain a high quality and more contrast between the songs.

5/10