Wednesday, February 29, 2012

Help! For Japan: 4 Track EP


4 Track EP

Label: Avenue Of Allies 2012

Review by Kimmo Toivonen

A year ago Japan was struck by a massive earthquake that wiped off entire cities and affected the lives of millions. Several charity projects have been launched after that, but there's still people in need of help, and therefore Tommy Heart of Fair Warning and Soul Doctor fame put together this campaign.

Together with several well-known singers and players in the hard rock genre, Tommy has re-worked the Beatles classic "Help!" into a melodic rock ballad. The EP features four different versions of the song, an "all-star" version, one sung by Tommy Heart, a guitar version and an extended version. All versions sound good, but I guess the most interesting one is the "all-star" version with all the singers sharing vocals in true "We Are The World" or "Hear'n Aid" -style. Nice!

The musicians: Don Airey (Keyboard & Piano, Deep Purple), Leo Leoni (Gitarre, Gotthard), Neil Murray (Bass, ex Whitesnake), Hena Habegger (Drums, Gotthard)

The singers: Tobias Sammet (Edguy, Avantasia), Bob Catley (Magnum), Andi Deris (Helloween), Torstein Flakne (Stage Dolls), Marc Storace (Krokus), David Readman (Pink Cream 69), Claus Lessmann (Bonfire), Oliver Hartmann (Hartmann), Ralf Scheepers (Primal Fear), Bernhard Weiss (Axxis), Michael Kiske (Unisonic), Tony Mills (TNT), Carsten Lizard Schulz (Evidence One) and Tommy Heart (Soul Doctor, Fair Warning),

The solo guitar players: Cede Dupont (Downspirit), Kyoji Yamamoto (BowWow), Helge Engelke (Fair Warning), Roland Grapow (Masterplan), Leo Leoni (Gotthard), Henny Wolter (Nitrogods), Robert R. Rodrigo (Airless)


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ARKADIA: "Tailwind"


Single

Label: indie 2011

Review by Kimmo Toivonen

This Finnish band has been around from 2003, and "Tailwind" is their seventh demo release. Musically they sound rather ready for bigger exposure, as both songs on the cd are enjoyable melodic, athmospheric metal. The hooks could be sharper and the lead vocals aren't totally convincing, but otherwise, very decent stuff.

Website

Friday, February 24, 2012

LACUNA COIL: "Dark Adrenaline"


Rating: 6/10

Label: Century Media 2012

Review by Kimmo Toivonen

Cold. That's one the word I would use to describe Lacuna Coil. Although I like bands who have a somewhat similar sound, Within Temptation for example, I've yet to fall for Lacuna Coil. They've got melodic, metallic rock songs with big choruses and a dramatic goth vibe on top of it all, but still... something in their approach feels and leaves me cold.

I suspect that the reason why I can't get into this album more is in the melodies. While the band's choruses are big, they really don't have the kind of melodies that would get stuck inside your head. The songs sound good when listening to them, but the "aftertaste" is missing. And because of that, I don't really have a burning desire to play the songs again.

Despite all of the above, I can not really give the album a bad rating. It definitely isn't bad, it's enjoyable enough to listen through. Christina Scabbia is a good singer and
the male vocalist Andrea Ferro does a good job too. The band sounds very tight and the production is excellent. They've got the basics in order, now they'd only need a touch of melodic magic to make those hooks even more enticing.

Website

Monday, February 20, 2012

MICHAEL THOMPSON BAND: "Future Past"


Rating: 8/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

Going through the label info-sheet about Michael Thompson it reads and I quote, "nowadays one of the leading guitar players of the world". Huh, what, yeah, in a parallel world. He's mostly known for his studio work as a session musician for the likes of Michael Jackson, Whitney Houston, Celine Dion, N' Sync, Toni Braxton, Phil Collins, Rod Stewart, Scorpions, Vince Neil, Christina Aguilera, Michael Bolton, Mariah Carey, Bette Midler, Madonna, Babyface, En Vogue, Gloria Estefan, Stanley Clarke, Ricky Martin, our good friend, Jeff Paris (name-drop of the century), and tons of other melodic artists.

But honestly, being a well respected name among studio geezers of the past just isn't the same as if you could't walk the streets without constantly bumping into kids wearing t-shirts that reads: 'Michael Thompson is one of the leading guitar players of the world'. I haven't seen one yet though. Okay, that's enough of harsh talk and vicious banter. Let's all agree that MT is an excellent guitarist and leave the rest up for debate.

The man can do no wrong in the studio though as the guitar playing is flawless and perfectly executed. At times a bit too perfect, borderline sterile, but nevermind as it's clearly just a case of pettifog. It's been 24 years since the excellent "How Long" album and this time MT teamed up with singer, not ancient TV reporter, Larry King (Soleil Moon) and he brought along a new and more rocking approach to the table. In other words, you could blame him for messing up a nice formula and for trying to change MTB into something different? Nah, let's not try and put the blame on King. MTB's songwriting and melodies on "Future Past" are hardly anything else than melodic hard rock only with a slightly more 'classic' vibe.

King sings like a raspy, not as impressive, definitely more husky/gruff version of Mark/Marcie Free (King Kobra, Signal, Unruly Child) meet John Parr. He's a far cry from the ultra-smooth vocals on the debut. By the way, Larry is known in Chicago and nationwide for his work on commercial jingles with a diverse range of clients including 'Ferrara-Pan' candy, R.C. Cola, Coca-Cola, Gatorade, Enterprise Rental Cars, Long John Silver, Pizza Hut, to name a few. He managed to feature in 52 commercials before the age of 13. Back on track, the melodies on 'Future Past' are steeped in the tradition of eighties melodic hardrock and the quality shines like a burning star on every single track. Check out opener, "High Times", expect the same fine standard throughout the album. Indeed, it's perhaps not the catchiest album on first listen, but it grows on you for every single spin (up to a certain point of course). This is the American dream of cruising down the highway with the top down and the wind blowing in your hair. Recommended if you enjoyed MTB and the likes of John Parr, 21 Guns (their debut).

www.michaelthompson.cc

SONIC STATION: "Sonic Station"


Rating: 7/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

Sonic Station, a Swedish soft-music project (a fusion of Pop, Rock, Jazz, and Westcoast) put together by guitarist/composer Alexander Kronbrink while studying at the Royal College of Music in Stockholm. He teamed up with Marika Willstedt, a singer and piano player and this collaboration turned out to be the beginning of this very record where Marika is responsible for most lyrics as well as singing lead on five of the ten tracks feat vocals. She's also a well known (and posh? well, she couldn't be bothered...) artist and session musician in Sweden after appearing as pianist and teamleader in a prime time music tv-show aimed at old folks and various geezers on national television (Så Ska Det Låta).

Kronbrink started out playing jazzy compositions with his friend and neighbour Jonathan Fritzén (today a star in the smooth jazz genre with several number one hits on the Billboard jazz charts in the states), before discovering the music of Steely Dan, Kenny Loggins, David Foster, Chicago, guitarist Jay Graydon, etc. Hint the roots and do not expect to find any roaring guitars on the record. I always skip track one as it's one extremely boring and long instrumental piece. "Love's Gonna Show The Way" featuring vocalist Magnus Bäcklund, mostly known as the male singer of the pop duo: Fame, and yes, you might have seen them in the EuroVision Song Contest (zzz). Typical vocal harmonies in the tradition of Chicago, The Doobie Brothers (Michael MacDonald), Hall & Oates, quite similar to their arrangements too and there's a nice hook indeed.

"I Wish I Could Lie", feat. Marika and it's a more airy, poppy, polished piece with a nice flow. "Hold On To Me", feat. vocalist Kristoffer Fogelmark, kicks off with a saxophone and it's obviously a jazzy westcoast compostition. "You Have To Let Me Go" feat. Tove Lo, the most uptempo rocking track of them all and more like a fusion of eighties and todays female fronted pop (a lot of 'todays pop' sound like the eighties anyhow). "The Most Beautiful Fear", (feat. Bäcklund) could just as easily have been one of those remakes by Michael Bolton as it reeks of late 60s as well as Westcoast. "Running Through The Night" (feat. Marika) could/should be a radio friendly song of todays standard. Closing track, "Reasons", (feat. Marika) basically a soul ballad and most likely inspired by "Didn't We Almost Have It All" (R.I.P. Whitney).

Where to draw the line between Pop and Rock? Does it really matter? I believe it's vital to some while others couldn't frankly give a damn. It's all down to the quality of the music and what better way to find out the truth than leaving it up to yours truly? Yes, the almighty reviewer has spoken and it's once again utter b.s. Too many so called "music journalists" are taking themselves too seriously, especially since they wouldn't know a 'hit' even if the afore-mentioned would end up right between their eyes. The bottomline: The work of professionals, a tad too neat as the Swedes tend to keep things clean and sterile. This is however my truth and opinion and perhaps you should also trust your own instinct in the matter? A solid but hardly earth shattering ultra-soft effort.

www.sonic-station.com

Friday, February 17, 2012

PRIMAL FEAR: "Unbreakable"


Rating: 6/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

Screaming guitars, soaring vocals, pumping bass, pounding drums - it's the sound of metal. Back to basics, back to the roots, back to the denim and leather culture of the eighties... and you'll quickly find yourself infront of the mirror posing along to the metal melodies? Well, it's a quite straightforward and simple formula where the ingredients are few and essential. One: get your hairdo and gear in order. Two: start headbanging.

Indeed, it's hardly rocket science and 'Unbreakable' feature lyric that goes and I quote, "Bang your head and never turn it down. Bang your head, bad guys wear black", end quote. Shakespearean to the rescue. Heavy Metal: supposedly manufactured to target the most primal and primitive part of your brain? Certainly not meant to please the thinking person in the first place?? The stereotypes are literally flying across the room as I type down the words. Are we getting younger by the minute, the work of a chimpanzee?

I absolutely adore "New Religion" (9/10 rating), disliked "16:6" (5/10 rating), and I can't say that I'm all too impressed by "Unbrekable". Don't get me wrong, eighties Judas Priest and Accept albums are bloody essential albums in my metal record collection. Crank up the volume even further while listening to "Restless and Wild" or "Defenders of The Faith", the remedy to any bad hair day. The songwriting team of Mat Sinner, Mats Karlsson, Ralf Scheepers, are trying to evoke those feelings and the result is okay even though it will hardly fulfil your metal dreams.

"Metal Nation" is a proper metal anthem (fist in the air style). "Where Angels Die" is the trademark of Karlsson and overall a more melodic approach. The title track feature soaring vocals by Scheepers and it's Euro-Metal at its most Germanic shape and colour. Final verdict: sadly lacking in the song department and the lyrics are extremely dull. In fact, hand me the melodies in advance next time and I'll come up with more intriguing stories under a minute. Nontheless, the primitive part of your brain can't resist headbanging along to several of the tracks and it's a decent effort without a single surprise.

www.primalfear.de

PRIMATE X: "Leave It To Bleed"


Rating: Single

Label: Indie 2012

Review by: Urban "Wally" Wallstrom

As much soaked in the tradition of Alice In Chains and stone grooved post-grunge melodies as melodic rock and progressive vibes, the Swedes of Primate X are fast becoming in demand at the local Stockholm live circuit and on the web. "Leave It To Bleed", their first 4-track CD single, and according to these tracks, expect a groovy attitude and quite the excellent production on the upcoming album, "A Fool's Game".

The band (JP Asplund - vocals, Felix Kvaernå - guitars, Anton Holmberg - bass, Max Wallberg - drums) are currently a force to be reckoned with as they had tens of thousands of listen on Myspace and even received acclaim from the rather posh mag, Slitz'. I'm however not entirelly sure if the latter is on a positive or negative note? But you can't look past the quality of this single though. The drum beat sits nicely inbetween the grooves of Cavalera and Ward, and the vocals has clearly been somewhat influenced by Ozzy and especially Layne Staley's impassioned and sometimes desperated cries. Not to mention that Felix is a cool cat/six string bender with several tricks up his sleeves.

Do they have the material that could bring them to the next level? Yeah, maybe, these four tracks are all similar in structure with a groovy beat and ditto arrangements. Definitely a band to look out for in the future. Let's hope they have a couple of surprising moments and not just groove on the upcoming CD.

www.primate-x.com

STONE AXE: "II"


Rating: 5/10

Label: Ripple Music 2011

Review by: Urban "Wally" Wallstrom

Stone Axe II - the 2012 reissue deluxe edition is accompanied by a second CD packed with vinyl only and various assorted bits from the Stone Axe back catalogue, including a cover of a tune from The Cream (SWLABR), as well as a version of "Black Widow" from the very first incarnation of the band. This album was originally released in March 2010 on the band's own Music Abuse Records and Ripple Music has picked it up to give it a similar deluxe treatment as that which the first, self-titled album got a while back (see review elsewhere on this site).

As soon as the opening two tracks, "Old Soul" and "We Know It's Still Rock N Roll", started, you're thrown back to the seventies hardrock of the blues variety. The latter done 'ala Acca Dacca and Rose Tattoo. There is a certain style and sound that most of the bands from this period have on their recordings and Stone Axe are certainly trying to capture it in every possible way. The line-up consisting of the husky vocalist, Dru Brinkerhoff, guitarist Tony Reed, bass player Mike Dupoint and drummer Mykey Haslip, are paying homage to all the classic bands by working in a similar concept and they're no doubt a fine live act on stage.

Yep, the band has taken bits and pieces from the rougher end of the blues rock with AC/DC, Bad Company, Free, Led Zeppelin as their ultimate housegods and heroes. They tinkle around the monster riffs of the past without hitting the correct note to really put them among the top notch "new classic" bands on the scene. I still find their compositions too vivid and they're basically 'band jumping' from Lizzy to Zepplin and AC/DC from one track to another (like any other 'after-ski' act in my humble opinion). Decent rock and slightly better than their debut.

Website

Tuesday, February 14, 2012

MOLLO/MARTIN: "The Third Cage"


Rating: 7/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

It's always nice to hear a new album with the former Black Sabbath vocalist Tony Martin. We (RockUnited.com) have been interviewing and reviewing the headless cross resident on several occasions over the years. The Third Cage - as the title suggest, the third album in a series of 'Cage' albums: featuring Italian guitarist Dario Mollo. Well, this actually started out as his project, however, their latest offering to the metal Gods is a darker heavier effort than previous attempts at world domination.

Opening track, "Wicked World", reading the lyrics, I'd say it deals with the old colonial view of the so called civilized countries vs. the third world. At least I hope so, since it's otherwise a rather disturbing agenda which could backfire at any moment really. Some modern influences music-wise and not far off from the sound of the Iommi/Hughes project. "Cirque Du Freak" and "Oh My Soul", rides on the late eighties wave of Sabbath and obviously the Tony Martin era. Both are big time old skool metal and the latter will vaguely remind you of Blackmore and his old bands (Rainbow, Deep Purple). "One Of The Few", melodic hardrock with a rather catchy refrain and the old eighties tapping technique works out nicely in the end.

Another favourite track, "Wardance", holds lyrics in the warhammer fantasy tradition that goes and I quote, "To the dead in their soldiers graves, we march the legions, dance of the brave", end quote. Final verdict: The Third Cage - obviously a gathering and meeting place for a degenerate band and various old hardrock and metal fans. It is perhaps quite empty of new ideas at the moment, but many signs of use is evidence. It's a solid piece of work and you could do a lot worse, and better for that matter, than picking up the torch of late eighties Sabbath.

BEYOND THE BRIDGE: "The Old Man And The Spirit"


Rating: 3/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

Here's something we've heard a thousand times before and most recently by various minor acts such as Zero Hour, Defyance, Redemption, Arilyn, etc, etc, etc. Who, you ask? My point exactly, they are all (melodic) progressive metal bands, but you can hardly keep track even though if Defyance featured Lance King on lead vocals. I believe it's simply because they are so utterly safe and unoriginal.

Beyond The Bridge are sadly trapped in the usual progressive rock trap where the skill of the musicians hardly match the songwriting. It's ambitious work and the concept of the album deals with the polarity of human sensuousness and superhuman awareness? It lacks however the voice of clarity and using the proper key opens the chests without activating the prog trap. It's a shame, especially since they are obviously seven (7!) hard working band members from the land of Germany. They had to struggle against time and labels in the past only to end up with a below average rating at RockUnited.com. But to be perfectly honest, I can't see why Frontiers decided to sign them in the first place?

I guess the good thing about being in a prog-metal band is you have to be completely useless to be the worst group out there. You can tell from minute one if the musicians are crap, and you never ever have to come up with anything new as long as you keep the instrumental guitar vs. keyboard interludes going. And on the plus side, these guys have one female and one male vocalist.

SONIQ THEATER: "Overnight Sensation"


Rating: Instrumental

Label: Indie 2012

Review by: Urban "Wally" Wallstrom

Soniq Theater, it's basically a one man project, music composed, arranged, performed, produced, mixed and mastered by the multi-talented, Alfred Mueller. "Overnight Sensation" - album number twelve by the German and it's certainly hasn't been anything even remotely like the title may at first suggest. The all-instrumental musician deserves respect for his decision to keep up with the playing of electronic, ambient, symphonic, synth/prog melodies on his keyboard while others may not be quite as impressed by his work at first.

...And that's what music is all about really. Devoted nut-heads are various die-hards are making this world go round. You can't trust the average 'absolute music 15' consumer to come up with any music worthy of your attention. I quite like the idea of Mueller in the role of the mad composer/doctor Frankenstein and he's obviously creating a monster in his lab. He's clearly been listening to everybody from Mike Oldfield, Jean Michael Jarre, Alan Parsons Project, Brian Eno, Vangelis, Yanni, Yes, ELP, to eighties synth, and everything just seems to follow in the wake of keyboard and piano lessons. Are there any guitars, you ask? Ehem, not really, it's very much a keyboard, a computer, and the technology of composing straight into/onto the internet.

It's difficult to single out the better tunes and it's perhaps not something to digest on daily bases. I do enjoy playing this in the background while doing other things. If you like quirky, dreamy, innocent, instrumental synth/prog? Check out the link and site below, the rest of you may look elsewhere for entertainment (I would suggest: www.RockUnited.com).

www.soniqtheater.de

Sunday, February 12, 2012

SUNSTORM: "Emotional Fire"


Rating: 9/10

Label: Frontiers 2012

Review by Kimmo Toivonen

Sunstorm is a project built around the talent of Joe Lynn Turner, a vocalist whose name should be familiar to anyone into hard rock and AOR. This is the third Sunstorm album, and according to the press release, it pays tribute to his session work as a background vocalist. Well, three of the 11 songs originate from the late eighties, when Turner was doing a lot of session work. The other tracks are newly written songs from the Frontiers' pool of songwriters (Tom & James Martin, Soren Kronkvist, Daniel Palmqvist are named in the same press release).

The three covers are all Michael Bolton's songs, two of which he recorded himself and one that was originally recorded by Cher. Now, Bolton is a blue-eyed soul crooner these days, but back in the eighties he was an AOR god, and these songs are among his finest ones. And there lies a problem - as far as I'm concerned, there's nothing to add to the original versions. Turner & co do a good job with them, but... I still prefer the slightly "over-the-top" version of "Emotional Fire" by Cher and while the heavier edge of "Gina" is cool, Turner's timing is a bit too different here and there. Having heard the Bolton original about a million times, I find it hard to get a grip of this version. The best one of the three is "You Wouldn't Know Love". That song is what I'd call "A perfect AOR song", and Turner's version certainly does it justice.

What's great about this album is that despite there being three AOR classics in the tracklisting, the new songs stand proudly alongside them. There really isn't a weak track among the new songs, and you can really feel the "emotional fire" in the best ones, more than in the song by that name. The tracks that stand out the most are "Torn In Half" and "Emily", both of them are simply brilliant, intense AOR songs and Turner sings them with passion.

In conclusion... just like the previous two Sunstorm albums, this is an essential purchase for anyone into melodic rock. Dennis Ward's production is top-notch as usual, great musicianship and awesome vocals... very close to being my first ten out of ten for this year.

Joe Lynn Turner Website

PHILIP SAYCE: "Steamroller"


Rating: 9/10

Label: Provogue/Mascot 2012

Review by: Urban "Wally" Wallstrom

Music rarely jumps at you, grabs you by the throat, and simply refuses to let go. This is however one of those moments when the blues goes straight at the jugular and if the poor listeners are too slow to react? tough luck as you could easily end up on the floor, face down in a pool of blood. A too vivid description and really way over the top? Yeah, Philip Sayce is hardly out on a mission to annihilate his entire fanbase rather than expanding it by releasing his most exciting solo effort so far.

The first five tracks off "Steamroller" are simply magical. The former Jeff Healey Band and Uncle Cracker guitarist are coming up with licks and tricks of highest intense and order. The opening title-track will have you thinking about Jimi Hendrix and some might say it's Lenny Kravitz as they hear "Stung By A Woman". Probably the best hit he never had for that matter. However, there's more to Sayce than first meet the eye/ear. It goes all the way back to the U.K. blues/rock guitarists of the late sixties and even further back to the roadhouses of America and the original blues musicians.

The notes and tones are right on the money and the songs literally feels alive and kicking throughout the album. For instance, "Black Train"- I'm not quite sure about the line-up regarding the rhythm section (bass player, drummer) and no, I can't be arsed to google. However, try and imagine if Geezer and Bill Ward (Black Sabbath) would be in their twenties again and you're darn close to home. Extremely groovy, almost jazzy, and heavy as funk. Sayce is playing the devil here as he sits on the fence with one leg on each side of the hard rock and blues. He's quite the remarkable vocalist too with lots of soul and attitude. Have a go at the soulful ballad, "Marigold", and you'll notice the top-notch quality of his vocals.

"Beautiful" mixes the funky attitude of Prince, Sly & The Family Stone with gritty blues. "A Mystic" could not have been more of a mystery even if the opening lead guitar note didn't sound like a friggin' saxophone at first? The riffing is out of this world and you'll end up in awe over his distinct tone and amp sound. The closing number, "Aberstwyth", the only instrumental track by the way, takes inspiration from Wales, and you may also pick up U.K. influences from Mr. Slowhand aka Clapton and possibly even Gary Moore? Final verdict: this is a proper heavy blues guitar album and worthy of the hype on the contrary to most schmucks out there. Crank up the volume...

www.philipsayce.com/

Saturday, February 11, 2012

CHRIST AGONY: "Nocturn"


Rating: 7/10

Label: Mystic 2012

Review by: Urban "Wally" Wallstrom

Christ, the agony, the agnoy!! Please make the headbanging stop as I simply don't know how much longer my poor neck can take the whiplashing. One of Poland's most recognizable and certainly best "Brutal Metal" acts alongside Vader and Behemoth are now returning with a slow, epic, sounding platter served with the usual blood and darkness. Let me tell you why I enjoy this in favour of most brutal albums out there at the moment. It's simply not all about "speed" and sickening screams/vocals rather than pretty slow and doomy metal with ultra-crunching riffs and vocals that are more 'spooky/talky' than 'screamy'.

Yep, it's definitely the way I prefer my Black-metal and thus why I also enjoy the early albums by Samael. It's obviously not meant to attract the average hard rock listener as it's frankly too disturbing and not to mention underground for most folks. However, I can see why people mostly found of "doom" could possible jump on the Christ Agony train and head for destination: hell. The lyrics are utterly dark and satanic and you'll actually feel right at home.

The band, featuring drummer Inferno (Behemoth) and bassist/vocalist Reyash (Vader, Witchmaster) sits nicely on the black throne of metal in their homeland Poland as they consider themselves emperors of the dark culture. And if you seek an audience with the band, you're better be prepeard to fall to your knees or you shall know the wrath of 10.000's of satanic followers. Ehem, yeah, the hardcore fans believe they are the custodians of a mighty empire and are sure to be completely bonkers. Epic/slow, doomy/black - it's nontheless a vicious attack.

www.christagony.pl

PARADISE INC "Time"


Rating: 6/10

Label: Avenue Of Allies 2011

Review by: Urban "Wally" Wallstrom

Blimey, I decided to spin this next after spending hours with the latest Christ Agony CD. Wow! Talk about a shock to the system as they couldn't be further away from each end of this big-old-crazy family we all like to call hard rock and metal. If the afore-mentioned one could the easiest be described as cousin 'it' and should be locked up in the basement during dinner if merely to stop him from scaring the kids, we're now talking to whimsy aunty 'lizard' and her company of pink-dyed brazilian poodles. All jokes aside, it's like a comparison of light and darkness, sweet and sour, and why not enjoy the best of both music(al) worlds?

Okay, neither acts are among the absolute top notch best of their particular genre, it's however nice entertainment for the masses and moment. Paradise Inc, yet another melodic hardrock project fronted by the German vocalist: Carlsten 'Lizard' Schulz (Eveidence One, Domain, Midnite Club). I must say that Schulz's vocal performances are among the best he's ever done and certainly worthy of your attention. The music is far from original, but they've actually managed to squeeze in quite a lot of catchy hooks on record "Time" (heh, record time... nevermind).

You could not have guessed Brazil as their homeland, the foundation of the P-Inc melodies are based upon the first three albums by Bon Jovi. Sepultura, who? Throw in bits and pieces of Firehouse, Roko, Jaded Heart, and you're pretty close to the core of the band. Produced by Paul Logue of Eden's Curse (they've got a nutty singer, they've got a nutty singer!) and mastered by Dennis Ward, expect a rather professional sound and packaging. Extra kudos to Alessandro Del Vecchio for classy ivory/ebony work and any fan of the typical 80s keyboard sound will rejoice in tears of joy. Songs like, "Time (Live and learn)", "Close Your Eyes", "Who's Fooling Who", "I Will Wait", "No More Mistakes", and "Not In Paradise", are all winners in my book. Some truly boring ones inbetween the goodies but overall a neat debut.

www.paradiseinc.com

YouTube

Friday, February 10, 2012

PICTURE: "Warhorse"


Rating: 8/10

Label: Artist Station Records 2011

Review by Martien Koolen

This Dutch metal/rock band started their career 30 years ago and who cannot sing along to classic metal tracks like: "Diamond Dreamer", "Bombers", "Eternal Dark" and
"Heavy Metal Ears"? In the beginning of 2008 Picture made an unexpected come back on the metal front and in 2009 they released a brand new album called "Old Dogs New Tricks".

So, Picture was back and now they present their latest work "Warhorse"; a
good old-fashioned hard rock/metal album filled with 12 brand new songs and one oldie; "Eternal Dark", the song from 1983 is added as a bonus. Eleven of the twelve
songs are up tempo hard hitting metal songs with rough, sometimes aggressive, vocals from Pete Lovell. Guitar pickers Peter Bourbon and Mike Ferguson come up with some massive guitar walls and their solos are mostly fast but melodic. The only resting point on the album is the power ballad "I Think I Lost My Way", which is almost a metal anthem.

My favourite songs are: "The Price I Pay" and the excellent opener "Battle Plan". Play at maximum volume and be ready to get blown away; Picture is back and the whole metal world will know it!!

Website

WALKING WITH KINGS: "Walking With Kings"


Rating: 7/10

Label: Indie 2011

Review by Kimmo Toivonen

Walking With Kings is a new Christian hard rock band from Atlanta, Georgia. The band may be new but the musicians are more or less accomplished, with bands like Stuck Mojo, Furyon and Fozzy in their CV's. No wonder that this album sounds very professional.

WWK have found a good balance between their 80'ies influences and the modern sounds, making this album quite varied yet somehow consistent. They kick it off with one of the more "retro"-sounding tracks, the rather fine "Mention Of Your Name" which reminds me of
The Brave, Stryper and Firehouse. It's followed by the modern-sounding "Here I Stand" and "Wicked Ways", which sounds as if it could it be an unheard track from Bon Jovi's "Keep The Faith" sessions. Vocalist Terry Chism has a good voice, kinda like a cross between Dan Reed and Jon Bon Jovi, maybe that's what brought up the comparison.

"Autumn Brings" has a touch of Harem Scarem's latterday material, while "Lost" is a good, melodic ballad, with some Coldplay-inspired keyboards. The Bon Jovi comparison raises its' head during "Home" but the funky "Friends" owes more to the aforementioned Dan Reed and his Network. The unplugged version of "Home" is almost like different song, but a fine piece of music it is too.

Now that you've read my ramblings, why don't you experience the "walk" yourself? The band is offering a FREE download of the album on their website. Yes, free, no charge... Go for it!

Website

Tuesday, February 7, 2012

RPWL: "Beyond Man And Time"


Rating: 8/10

Label: GentleArtOfMusic 2012

Review by: Urban "Wally" Wallstrom

I believe their full transition from a dead-on Pink Floyd-ish act to a more poppier one is almost complete somehow. RPWL no longer compose music merely based around the same formula and structure of arrangements which gave us marvelous albums such as "World Through My Eyes" in 2005. They've gone for the grande picture where art-rock meet complex pop/prog and it's actually their first shot at a concept album (believe it or not).

"Beyond Man And Time" - a Nietzsche quote from his opus magnum (or if you prefer: magnum opus), "Thus Spoke Zarathustra", and the story's protagonist is indeed on a journey towards a new way of thinking and thus a brand new insight. They've even managed to create musical themes for each and every single character here and oriental percussion, expanded Moog-soli and an Indian sitar are all resposible for a well placed atmospheric and colourful adaptation. Our traveler meet creatures of higher knowledge along his way such as the The Keeper, The Blind, The Scientist, The Ugly, The Creator, etc. and the journey culminates in a 16 minute-opus, "The Fisherman", while the CD ends with a more mediatative note, "The Noon".

It's not exactly 'easy listening' and you'll need to spin this many-many times to get the hang of their vivid ideas and dreams. At times extremely arty-farty and almost like some kind of unrestrained repercussion of modern art-rock obviously aimed at the average top twenty listener? Even though I completely understand their desire to progress and travel further away from their Pink Floyd influences, I can't help to wonder if they've gone a bit too far down the road of confusion? Not that Floyd ever kept things easy though.

Don't get me wrong, it's an ambitious and very strong effort and I do enjoy most of the tracks. However, a couple of moments are perhaps a tad too 'hippie' and 'out there' for my personal taste. Nontheless, classy Art/Prog Rock and the stage is set as soon as you've heard the opening vocal track, "We Are What We Are", since you'll basically receive the same high standard throughout the CD. The limited edition includes as additional audio book that connect the music with the philosophical approach, plus a topographic map of the new world that is to be explored. Ambitious indeed. Release date: March 9.

www.rpwl.net

Monday, February 6, 2012

The LONELY H: "Concrete Class"


Rating: 6/10

Label: TSM/SLW 2012

Review by: Urban "Wally" Wallstrom

"Concrete Class" uses a retro blues vibe and the dito mellow sounds of roaring and bellowing of long gone days. It's the sort of blues that surely doesn't feel threatened by the presence of todays music. To be frank, this could just as easily have been released back in 1973 and you'd all be happy to spin the vinyl. It takes the laidback approach of (early) The Eagles, The Allman Brothers, Stones, and Jackson Browne, and do not expect to find a lot of uptempo tracks whatsoever really. "Diggin' A Hole" and "Phoenix" are however exceptions to the rule with its Stones meet classic rock attitude.

It's otherwise a lot of "flowers in your hair" and acoustic blues melodies where Eric Whitman shines with banjo, mandolin and lap steel performances. Pardon me if I'm wrong, but I believe that Lonely H are simply playing the old 'Americana' card on several occasions and it's supposed to attract/lure hillbillies to come running down the mountains, leaving their pregnent wife/cousin and moonshine behind. There's no denying that it's the old sound of America and it's almost like if the U.S. quartet expect their listeners to have some knowledge about the AM/FM playlist of 1973??

For what it's worth, The Lonely H does sound like 1973 and "Concrete Class" contains music not a million miles away from the standard of the old days. This ancient preference could quite easily become irritating, but with their material and fine vocalist (Mark Fredson), the band actually manage to pull things off and deliver a rather stong effort indeed.

MySpace site

MIC: "On All 4's"



Label: TSM/SLW 2012

Review by: Urban "Wally" Wallstrom

MIC aka Made In China are definitely out to conquer the world like any product of big Asia nowadays. Although the troops have not all been assembled yet, there are enough of foot soldiers and various small gadgets here to keep the listener on their toes. "On All 4's" - much like the title may suggest? their fourth album and perhaps even the strongest so far. Yvon Serré (vocals/guitars) and company are coming up with eclectic rock and punk heavily influenced by the seventies and the eleven tracks on display are all nicely performed.

Tracks such as "Chemicals" and "Happy Days" had me seriously thinking about Joe Jackson of the late seventies (I've recently discovered him and been playing the 'Look Sharp' record a lot lately). You know, the funny lookin' dude with hits such as "Is She Really Going Out With Him" and the song later covered by Anthrax, "Got The Time". It's a mish-mash of U.K. influenced ska punk-rock and the more hardrockin' attitude of Cheap Trick. By the way, Joe Jackson's "Look Sharp" - one seriously underrated album of the past. "Cookin'" is meat and potato hardrock while the opening stomper, "Can't Take Anymore", fits nicely inbetween cocky melodic rock and the strutt of the Stones. Final verdict: Not too shabby at all really. Soundclips at the links below.

www.yvonserre.com

MySpace site

Saturday, February 4, 2012

VAN HALEN: "A Different Kind Of Truth"




Rating: 9/10

Label: Polydor 2012

Review by Alan Holloway

Well, it’s finally here. After what seems like an age Van Halen, now reunited with original vocalist Dave Lee Roth, have recorded an album. It’s been 14 years since Gary Cherone unwisely tried to fill Sammy Hagar’s moon boots, although the memory of “Van Halen III” lingers like an old dogs fart. Perhaps the biggest surprise about “A Different Kind Of Truth” is that the songs are almost all oldies, unfinished or unrecorded stuff from way back. This seems odd, but Van Halen were pretty frikken good back in the day, so it could just be inspirational rather then just plain lazy.

The single biggest problem with this album is the lead track and singe “Tattoo”. Although it does get to you after a while, it’s really not that good a song. If you love it, though, you’re going to go absolutely NUTS when you hear the rest, as to a song they blow it away. The best thing about “A Different Kind Of Truth” is that it is absolutely stiffed full of guitar, with Eddie Van Halen’s calloused fingers running up and down his fretboard at every opportunity. It also manages to strike a perfect balance between pop and heavy rock, with melody, harmony and kick ass guitar riffs sitting comfortably beside each other.

The biggest hype, of course, comes from the return of Roth (only 3 and a half years away from his personal Diamond anniversary), and like most people I was wondering what he’d sound like. Thankfully, he sounds like Dave Lee Roth, so that’s okay. He’s still got the range, the bravado and the cheek that he always had, although he’s joined the short hair brigade these days. I loved the Sammy Hagar VH material, but it sure is great to hear Roth back doing the business.

This is no “1984”, but in it’s own way it’s just as good, if not better. Aside from “Tattoo” every song is a monster. Some of the intros are inspiring, with Eddie happy to widdle away for a few seconds before the main track kicks in. The choruses are big, the riffs are big, and the speed is right up where it should be, with more than a few tracks rattling along at a “Hot For Teacher” pace. There’s no keyboards anywhere, and each and every song includes a kick ass guitar solo. There’s even a quirky song in the shape of “Stay Frosty”, which anyone who loved “Ice Cream Man” will adore, as it’s in a similar vein.

In all honesty, I didn’t expect much of this album. Van Halen to me were a band who had their time and were now old news. Suddenly, they’re back and have rarely sounded hungrier. Jesus can go suck it, because Van Halen have risen from the dead - hallelujah!

Website

Wednesday, February 1, 2012

MARTYR LUCIFER: "Farewell To Graveland"


Rating: 7/10

Label: Buil2kill 2012

Review by: Urban "Wally" Wallstrom

Martyr Lucifer certainly do impress with his latest effort, image, style, and music-wise. If you closely investigate the songs and arrangements, you'll find them dark, filthy, odorous, and utterly doomy/gloomy. The album's contents do not include words such as 'sunny' and 'warm', but does include important slow-metal attributes such as 'coffin case','cavernous creatures', as well as the odd 'dark house of compassion'.

'Farewell To Graveland' takes a musical direction that goes further away from what has previously been the Martyr trade/hallmark. The former Dogma and Hortus Animae vocalist is now heavily inspired by the darkwave/goth movement, as well as seventies progressive and psychedelic rock. The album features electronic synth arrangements while maintaining a certain metal touch. It's actually quite 'Type O'Negative' at times and the spirit of Pete certainly lives among these compostitions.

Atmospheric folk-rock and old classical melodies are nicely blended with a modern-gothic gurgling and hissing noise which remains throughout the CD. It's a pleasant glade, a small clearing where several varities of black flowers grow in a idyllic spot at the darkest and most remote part of the forest. It's a darn nice place for your Doom and Gloom party. You could have wished for a change of pace and style every now and then, but you can't always get what you want. Final verdict: Neat! Never heard of the bozo? try a couple of soundclips at the link below.

www.martyrlucifer.net/

CRASH STREET KIDS: "Sweet Creatures"


Rating: 8/10

Label: Vanity Music 2012

Review by: Urban "Wally" Wallstrom

Man, I really enjoyed their previous album, "Transatlantic Suicide". In fact, every home should have a copy if you enjoy utterly fun and catchy Glam-Rock. Thus why yours truly at first ended up sort of disappointed by the "Sweet Creatures". Here's the main thing though, it's not bad, it's a friggin' great throw back to the days/daze of Mott The Hoople, Bowie/Ziggy, T-Rex and Cheap Trick. I believe it's simply because I expected them to step up to the plate and hit a perfect homerun this time (a perfect ten as I gave them a strong nine rating last time).

So, it's perhaps a teeny-weeny step back in my opinion (since their last effort), but it's still miles ahead of most releases today and it'll send good shivers down your spine. Ryan McKay is the ultimate leader and the hallmark of Bolan and Hunter is always at his side, and he is always wearing the robe of Glam-Rock with both pride and honor. His skin has taken on a sparkle of glitter and has formed his singing voice in the tradition of the old masters. Basically, everything is utterly professional done and executed and most importantly, they have catchy material to back things up. Originals, they are not, but definitely the second best thing, excellent performers and top notch musicians of their genre.

Elvis Costello might even call them up for a chat regarding the refrain on "Sad Julia", but it's been nicely done in a glammy fashion. It's almost like if the Crash Street Kids (obviously from the Mott The Hoople's) are one of the last survivors of the old glam-hearted cult that founded the scene centuries ago. It's fun, energic music, caught up in a timewarp with all the young dudes and whizz kids (sucker). Recommended!

www.crashstreetkids.com/

www.myspace.com/crashstreetkids/

KEYSTONE: "Flight To Paradise"


Rating: 5/10

Label: Park Records 2011

Review by: Urban "Wally" Wallstrom

"Flight To Pardise" is the sophomore release by the U.S. soft-rock project entitled Keystone. It's the old sound of 70's poppy metal and it's definitely recorded and arranged in the old tradition of Boston, REO Speedwagon, and perhaps just a hint of Angel. Everything from opener, "Kiss and Say Goodbye", to the closing of, "Days Gone By", are sort of meant to please the U.S. mainstream rock fan of the era of approx 1976 to 1980. Yes, it's quite a dated sound and the two main characters: Patrick Kreisl (lead & rhythm guitars, bass, vocals) and Robert Berry (drums, bass, Hammond B3, keyboards, backing vocals) are both experienced musicians with their roots deeply buried into the "first original wave of AOR".

The multi-talanted Robert Berry is a well known cult figure of the soft-rock genre and Kreisl's done quite a lot of work in the past too. This alone should definitely provide a certain stamp of quality music and it's all very professional done indeed. It's hardly earth-shattering material and like I mentioned earlier, it's more suited towards the classic 'first wave' fan and if you've been brought up with the soft melodies of REO 'Heavy Metal' Speedwagon. Unfortunately, they've also decided to cover "Little Willy" by The Sweet and it's frankly just a horrible tune originally recorded by the Glam-masters during their early Chinn/Chapman era. It's overall a decent effort, but utterly safe and quite predictable to be completely honest. The two songs peformed by female guest vocalist Kira Krakovesky is a nice change of style though. Go! Kira Go!

www.myspace.com/keystonehazleton/

ERASE: "May I Sin"


Rating: 3/10

Label: Buil2Kill 2011

Review by: Urban "Wally" Wallstrom

May I sin? the young woman on the cover nicely ask while blowing yet another bubble of c... gum? Sure, you go ahead as long as you keep us all posted on various strange subjects such as 'beaver' and 'headlights'. Ehem, on a slightly more serious note, Erase, the sadly all-male Italian cross-over act are creating a fusion of metalcore, deathcore, rock and poppy industrial on their first full-lenght album. Their music however is actually like a permanent illusion that disquises a rather horrible truth.

'May I Sin' is in fact bland with a capitol B. The grunts vs. clean voice approach, could not have been more annoying if we had been invited inside for some tea and cake. However, if you accept their house invitation (let them have cake!), Erase will slowly proceed you through many and small rooms absolutely cluttered with pseudo-metal nonsense. Lyrics such as: "Open up the door and I will find my way to you. Look behind your back and see my trembling hands", only make things worse really as you can't help thinking about the Deliverance scene aka 'scream like a pig'.

www.eraseband.net/

MORGANA: "Rose Of Jericho"


Rating: 5/10

Label: NadirMusic 2012

Review by: Urban "Wally" Wallstrom

Truth be told, a quick glance at the cover and I definitely expected this to be yet another 'Goth' CD with a female vocalist. Low and behold, this is old skool and the Morgana woman sang in a Heavy metal band already back in 1983 (at the age of barely 16) and she's been a part of the Italian underground metal scene ever since. Morgana actually signed a recording contract with a semi-major German label and moved over there in early 1992. Well, you all know what happend to the genre during those years (and no, I'm not talkin' about WWII).

"Rose Of Jericho" is a collaboration with guitarist Tommy Talamanca from the band Sadist. The result is meant to be something inbetween the blunt approach of early Warlock/Sadist and Lita Ford/Cher. However, do not expect to find a lot of perfect gems as the album is void of really strong melodies. If you search through the 'Rose of Jericho', I'd say that chances are one in five that someone stumbles into its actual body of work. It's sort of hidden amongst a garden of clichés, where it's sometimes difficult to tell apart the real Morgana from the average karaoke singer.

The melodies are more or less all steeped in the mid-tempo formula that block the opening to a proper metal party. "Lady Winter" is a proper tune though and I enjoy the acoustic version a lot more than its 'metal work'. The ancient "Bang Bang", originally performed by Cher in the sixties, works out okay, but was more enjoyable when the plastic lady re-recorded it during her 'Sambora' era. So-so.

www.morganadelaude.com/

KAISAS: "Unify"


Rating: 6/10

Label: Casket Records 2012

Review by: Urban "Wally" Wallstrom

Kaisas' 'Unify', it's a old skool melodic metal project by guitarist Babis Kaisas from Greece. There's however a twist to the story, a rather profound U.K. connection as the album feature Tony 'Grrrreat' Mills (SHY, TNT) on lead vocals. Add to this a vivid drummer from Brazil (Acacio Carvalho) and it's suddenely a very international project with its sound firmly rooted into the eighties melodic metal scene.

There are no keyboards to be found on this record and the overall style of the project is desperately trying to evoke the period and memories of acts such as Fifth Angel, TNT, Alice Cooper (the 'Kane Roberts' era), MacAlpine (Eyes Of The World) and Queensryche. Okay, their ambition outstretches their ability sometimes, Babis Kaisas just ain't Tony MacAlpine, and his songwriting skill doesn't always impress to say the least. Like, what the heck is the song, "That's Me", all about really? Probably the worst melodic metal refrain in a very long time. Think Alice Cooper 'ala Constrictor - only on dope, lying in the corner, hardly recognizable due to a cascade of hurling stomach content.

Ehem, yeah, it's a strange little metal project where a feeling of being stuck inside a emotional rollercoaster (lots of up's and down's), simply won't let go of your mind. Lacking contemporary followers, Kaisas has gathered a congregration of metal tracks which unfortunately always fall short in comparison to the eighties heydays. When everything is said and done, nothing really stands out... and that's shame, especially since there's not a lot of these type of records anymore. Have a go at this if you absolutely need to have everything with Tony Mills on lead vocals.

www.myspace.com/babiskaisas/

ENDLESS PAIN: "Chronicles Of Death"


Rating: 4/10

Label: Nadie Music 2011

Review by: Urban "Wally" Wallstrom

I know that some may now think of me as Anti-Italian, but nuthin' could be further from the truth. I love the country, their culture, language, calcio (that's footboll), food, women, wine, and pretty much all of their other ARTists with the mere exception of most heavy metal acts and their more brutal followers. Endless Pain is just another fine example of a rather average sounding aggressive Thrash/Death metal act from northern Italy and Brescia?

Are they crap? certainly NOT!!! But's it's so, 'been there, done that', and to be perfectly honest, I'm not a major fan of the 90's sound of Death which they've decided to mix inbetween their fine 80s structure of thrash metal. Their lead vocalist goes under the name of 'Hate' and literally spits and growls like a man possessed by demons and, ehhh, hate. Monotone fits like a glove when everything is highlighted and it's like if you're in a chamber of darkness where utter blackness consumes your entire body and soul. I wish he would tone down the cookie monster approach as the riffs aren't bad at at really.

www.endlesspain.it/

BUSH: "The Sea Of Memories"


Rating: 6/10

Label: eOneMusic 2011

Review by: Urban "Wally" Wallstrom

Dive into 'The Sea of Memories' with Bush and end up with a dozen of radio-friendly post-grunge tracks. It's more or less stadium rock and it's by far a more mature sounding record than what they've previously recorded in the nineties. Gone are most of their angst and it's almost like if they've decided to stroll down the exact same lane as The Foo Fighters?

Huh? Good Charlotte? Well, yeah, tracks like "The Mirror Of The Signs" and "All My Life", etc. are trying to capitalize (big time) on the poppy-rock wave of the Charlotte's and similar acts of the genre. The piano ballad, "All Night Doctors", walks along the similar formula and arrangements as some of their previous sappy songs, but it's nontheless a rather nice experience. It's hardly the comeback album of the century, lyrics featured here feels like something we've heard plenty of times before, but kudos to Metallica producer Bob Rock as he managed to squeeze out the best out of every guitar riff and drum-fill. Nice production and it sure beats listening to the ehem, "excellent", Lou Reed vs. Metallica project.

MECCA: "Undeniable"


Rating: 6/10

Label: Frontiers 2011

Review by: Urban "Wally" Wallstrom

We're off to the utterly pink and fluffy world of Mecca where items such as yacht and mint-green costumes 'ala Miami Vice, are all bloody essential ingredients to a decent platter. Let's be honest, the music literally oozes and smells like 1984 and it's just as perverse as any other fetish out there. Joe Vana and company are weirdly obsessed by yester-year's soft-rock and westcoast artists. In fact, you may not find one original note here. But on the other hand, it's all nicely done and mixed up to please fans of Toto, Chicago, Phil 'Genesis' Collins, and any other so called "uncool" act of the eighties era.

There's hardly any difference between this and eighties pop and most folks wouldn't know the difference in the first place. I wouldn't be surprised if most of them thought of Mecca as Pop anyhow and it's hardly the worst of things that could happen to a band. My point would be, do not expect any loud guitars whatsoever and I'm not even sure it's AOR for that matter. I actually enjoyed the first Mecca CD very much indeed. Perhaps not quite as much this time around mainly due to their excesive use of grand pianos and melodies that in a quick comparison would even make Glenn Medeiros sound like Slayer. Final verdict: Nice but no cigar. It's really not too soft nor too corny, the melodies are simply just not good enough for an entire album, in my humble opinion of course.

TRILLIUM: "Alloy"


Rating: 4/10

Label: Frontiers 2011

Review by: Urban "Wally" Wallstrom

Alloy??? Hmmm... the opening song (Machine Gun) blast through my loud speakers and all I can think about is Skunk Anansie and how "original" and fun they sounded back in the days. Well, it's all relatively speaking of course, however, in comparison to Amanda Sommervile and the Trillium project, Skin and co. were truly originals with groundbreaking style and music. Not to mention their remarkable clit power agenda and overall weird messages.

The result of this very project is very hit and miss indeed. Individual moments aren't too shabby and Amanda can certainly be breathtaking in both person and vocal performances. But, it's eventually the songwriting that really confuses everybody from the posh to the weary. You obviously have the early twenties 'Goth-rock' sound on several tracks and it's a bit too late to jump that particular bandwagon in the very late twenty eleven. Clinical and exact executed metal and I'm afraid it's a rather one dimensional affair without any real highlights. It's the old 'been there, done that' story where Skin may indeed also be the latter nowadays for that matter. Final verdict: pretty much like any other female fronted act ever since the second wave of 'Goth' in the early 00's.