Sleekstain- Hard

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.

The music on Hard 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.

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.

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.

6/10

CrashDiet, Jettblack, Sleekstain, Hell in the Club, Fallen Mafia Live @ O2 Academy Islington 27/04/13

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.

 

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 churned out fast-paced riff after fast-paced riff, showing off their brand of hard and fast rock and roll.

Italy’s Hell in the Club 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.

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.

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 nobody’s nobody’s business. The highlight of the set was definitely the closing number, 'Raining Rock’ which had the crowd singing along the whole way through.

Finally, Crashdiet 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 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 Cowboys 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.

The whole show was a brilliant, energetic, night of unabashed rock and roll.

 All photos (c) Nick Webb Photography 2013

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

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

Live Review- Jeff Scott Soto @ Camden Underworld 06/04/13

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, Damage Control.

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, Revolutia, 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.

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^st birthday only a few days before.  

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
 rock classic ‘Over The Hills and Far Away’, as it would have been the late, great guitarist’s 61

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, Damage Control, from 2012, (my review of which can be read here) 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. 

(all photos by Nick Webb)

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

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

FM- Rockville

Having recorded over a dozen albums in their nearly 30 year career, this latest offering from British Melodic, Arena and Album Oriented Rock veterans FM shows that, no matter what people say, the 80s are not ready to give up the ghost quite yet. This album holds many of the things that made that decade of gloriously over the top music great: Loud guitars, massive keyboards, highly sing-able melodies, power ballads that require the waving of a lighter, and Anthemic numbers which, if played on a car stereo, tend to render speed limits obsolete. This album definitely holds up to recent work of similar artists who they have shared billings with, and surpasses many.

With a good mix of huge stadium anthems obviously penned for huge audiences to get going to (The album opener “Tough Love” is a fantastic example of this), this album also includes tracks that would be equally at home played in a smaller, club gig, such as “Wake Up The World”, which shows off a more blues-based, Hard Rock edge to the band’s sound. “Show Me The Way” then goes a long way to show that FM can play a Power Ballad to rival anybody around.

The major downside of the album is the fact that it does seem to try to remain firmly in the 80s, with minimal looking forward, which, at times, makes this seem like a bit of a nostalgia album, pining for “the glory days.”

Overall, however, the album is made up of a range of meat and potatoes classic rock, exactly what you’d expect from a band as classic and long-running as this. Definitely one for those with an old-school bent to their music taste.

7/10

KISS- Monster Review

You can say what you like about KISS, and people really do. The fervour and love of their army of fans is matched only by the strength with which many despise their brand of fun-loving, Rock & Roll music. Whilst it lacks any real depth, serious message or great technical ability, Monster definitely offers what made KISS huge in the first place: A slice of high energy Hard Rock that gets fists pumping in the air and the long hair (albeit a distant memory for many of their original fans) swinging.

The 20^th album of a career spanning 4 decades, Monster is the second record KISS have made with the current line-up of Paul Stanley and Gene Simmons (founding members) along with the guitar skills of Tommy Thayer, and the pounding drums of Eric Singer. The follow up to 2009’s Sonic Boom continues with the band’s return to the true 70s sound that they’re famous for. Never a group to push musical boundaries, KISS is still most certainly doing what they’ve always done. 3 minute Hard Rock with plenty of guitar solos and lyrics about little more than Rock and Roll and partying which, whilst alright for some, do not plumb the depths of imagination, imagery or metaphor to decipher, especially as the ideas could have been lifted directly from albums of the band’s hay-day of 30 years ago. The problem with this return to the style of their classic period is that listening through to the album, there is a sense that you’ve heard all the songs before. “Ground-breaking” has never been a term regularly used in terms of KISS’ music, but there is a lack of much of anything special or new on Monster.

The opening track of Monster, “Hell or Hallelujah”, which was first released at the start of July 2012, begins the album with a barrage of classic bombast. The high-energy continues throughout the first couple of tracks, drawing heavily on the Blues-Rock roots of the band, each following the stock Verse-chorus-verse-chorus-bridge-solo format which, although tried and tested as a song-writing technique, offers little in the way of variety. The album features tracks which allow all 4 members the opportunity to have a turn on lead vocals. Although no-one else reaches the power and range of Stanley, Thayer’s tribute to the spaceman aesthetic that his character in the band has on “Outta This World” is a good rocker, although, like most of this album, there’s little inspired about it. The same with Singer’s “All for the Love of Rock & Roll”, while anthems extolling the virtues of specific musical genres are all well and good, music has moved on and evolved since the time that these songs belong in. The guitar playing on this album, whilst definitely better than most attempts at guitar based music that are released today, still lacks the sparkle, polish and sophistication that is needed to stand out even in the specific Rock music charts. The Hard, Party-on aesthetic seems to be wearing a bit thin on these stalwart veterans, with the two original members in their 60s, and Tommy and Eric in their 50s; it’s hard to see how relevant their lyrics are to them anymore.

This album is a welcome return to the 1970s styling of KISS’ music. Although the problem is large amounts of it do sound like off-cuts from previous albums. There are no real possibilities for a modern-day “Rock and Roll All Nite (And Party Every Day).” Unfortunately for KISS they seem to be resting on their laurels a bit with this release.

In a year where many other classic bands have released new albums, while this is definitely a fun, good time record, there’s very little special or exciting about it. The re-hashed formula of the songs makes this a bit of an old, toothless Monster at best. So for previous, and die-hard fans who love what KISS always were, this album continues their legacy successfully enough. But for people looking for an exciting, new addition to the Rock ‘n’ roll cannon, it lacks in many departments.

5.5/10

Dorje- Primordial Audio Chronicle Review

Dorje was formed in early 2012 as a project of Youtube based “guitar guru” Rob Chapman. Dorje, is a word that comes from Tibetan spiritualism, meaning “thunderbolt of enlightenment.” I’m unsure of the enlightenment part at this stage, but listening through to the two tracks that make up Primordial Audio Chronicle Volume 1 there are definitely more than a few lightning bolts. The musicianship evident on this recording is incredible- there are reasons why these men are getting so much recognition from their armies of online fans!

The first track, “Aeromancy” well and truly stamps Dorje into a brand of epic, technical Rock all of its own. With an atmospheric little introduction which then hammers straight into a powerful riff, the song is relentless in its attack. Taking influences from just about any Rock/Metal subgenre that you can care to imagine: Heavy riffs, atmospheric instrumental breaks, a shredding solo and a vocal track that sounds like it has been beamed through space from another dimension.

“Too Weak”, the other track on this short EP is another rocker. Although this time there’s a lot more groove to the song. The slap and pop of the bass line a lot more prominent here. Again with an amazing sounding, technical, yet tasteful solo- which is surprisingly rare from bands so stuffed full with technical ability as Dorje evidently is. The groove changes seamlessly and effortlessly between the different sections, making this song flow and ebb throughout.

This group have literally exploded since forming, making use of the extensive experience in New Media and online resources that the members have acquired. As a model of how using mediums like youtube can give great success, Dorje is the perfect model. The concept of collaboration between the band and their fans being a big part of the way Dorje work means that the upcoming video will heavily feature their fans. 

Overall, the biggest problem with the EP is that it is far too short. These two tracks give a very good idea of what the group is capable of, but it’s little more than a tantalising flavour of the essence of their sound. But the songs are solid, upbeat and real, rocking tunes.

8/10

Die Toten Hosen- Ballast Der Republik- 2012

Ballast Der Republik is the new offering from Germanic rockers Die Toten Hosen. Released back in May, this album is as eclectic as it is a novelty. Offering a mix of slower ballads and shout-along-in-a-rough-phonetic-way-despite-not-speaking-German Anthems

It is a strange phenomenon in the Musical world that bands from English speaking countries like England and America can find mass international fame worldwide, yet artists from other countries fail to make an impact on anything other than niche markets. This needs to change as there are some truly decent foreign acts out there.

These Punk-Rockers have really managed to get the art of writing good riffs, catchy lyrics and memorable hooks down. Whilst the album has a few weaker tracks, and tracks which seem rather indistinct (which is the problem with the majority of more modern rock bands I find), songs like the new (Oct 2012) single Altes Fieber really have power and a kind of epic quality that you can imagine a large crowd singing along with. Whereas on the slightly folksy track Ballast Der Republik, there is a definite Viking and pirate-rock influence. Die Toten Hosen don’t skimp out on the emotional level of their tracks either, without knowing anything of the meanings of the lyrics, there are the odd riff and melody to tug at the heartstrings in a precise, stereotypically Germanic way.

The major criticism of this album is that it seems a bit too polished for my taste. Everything feels precise and digital, which detracts from the rock n roll ethos this band seems to be struggling to keep hold of.

3 chord power rock style of the band does have the potential to get repetitive, especially as there are 16 songs on the album, barely any of which are much over 3 minutes long. However the different ways in which the formula is treated means that there is enough variety to keep the listener interested.

7/10

Van Halen- A Different Kind of Truth- 2012

A recent resurgence in the popularity of Classic Rock music has had many effects. Mainly that many older bands are facing increased pressure to reform, tour and record, and that I can now go into a record store and look for NEW albums by my personal favourite artists (yes, I have the same taste in music as your dad). The first offering from the old-guard of Rockers for 2012 comes from Californian metal masters Van Halen. This is their first album in over ten years, and their first with original singer, David Lee Roth since the 1980s. This is, therefore, a fairly momentous occasion for all fans of the band’s music. However, the album has been confirmed to be made up of mostly reworkings of old demos that never made it onto studio albums. This has made many people angry that the band has lost creativity and originality. What these people seem to forget is that people widely accept that old Van Halen was best Van Halen (VH I was a huge hit for the band back in 1978 was a hit, III in 1998 erm… was not) These songs, therefore, have the hallmarks of the band’s classic sound, infused with the relative youth of Eddie Van Halen’s son, Wolfgang, on bass.

Musically, the band are as strong as ever. The album contains 13 tracks of unashamed, unabashed, joyous Rock n Roll music. The years haven’t diminished the phenomenal guitar skills of Eddie that helped make the band so successful from the start. The solos are still lightning fast, with riffs that, if anything, prove that the band is as heavy as ever. There are few real problems with the music on the album, the biggest criticisms I have are: that occasionally the vocals seem to get a bit messy and become rather unclear. David Lee Roth, the enigmatic front man, although still a great singer, has, over the years, aged and is no longer what he once was. The drums pound away and keep a huge sounding beat going throughout the album

Some of the lyrical material is not exactly genius, with some songs sounding remarkably similar to earlier tracks (Stay Frosty bares a remarkable resemblance to Ice Cream Man) One of the tracks on the album, You and Your Blues seems to do nothing more than quote the titles of old Blues and rock  numbers. The first single from the album, Tattoo although catchy, lacks some of the spark and energy of their earlier songs. With a fairly cheesy refrain which, nonetheless is rather catchy. As a song, it’s not exactly highbrow or musically complicated, but it includes a typical Eddie guitar solo, proving that despite the years he’s still got his famous blazing chops.

In the end, Van Halen haven’t exactly stretched themselves or done anything different with this album. However, as such a well established band, that will either be a positive or a negative depending on your point of view. Nostalgia is probably the best way to listen to this album. Put aside any desires for a new sound, just think yourself into the minds of a 1980s Rock kid, and blast it out loud and proud. For me, it’s what this band’s meant to be: unashamed, unabashed, pure good time Rock & Roll!