Synth-wave AOR outfit Magic Dance quickly established themselves as a leader in the retro-genre, but for their newest album, the band has updated their sound to a more contemporary modern rock production and song style.
There are still waves of synth and more keyboards than a Yamaha outlet store, and while the change is subtle, it definitely heralds a different approach.
The vocal style remains in place as do the lush keyboards, but the direction chosen has changed the way the songs are structured, and the band has lost some of their unique 80s sound in an attempt to reach a wider audience.
The song writing is not nearly as catchy or unique and I’m hearing strong hints of modern melodic rockers Anberlin in amongst this album.
That all said, this is still a very enjoyable romp, with a distinct sound driving the largely uptempo album. I’m just struggling to identify individual songs and if given the choice, would rather the sound of the past.
The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.
Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.
However, the two records could not be more diametrically opposed.
Steve Lukather’sI’ve Found The Sun Again is the essence of raw, stripped back, live by the seat of your pants, live in the studio recording. Taking just 8 days to record with guests Williams, David Paich and a core band of drummer Greg Bissonette, keyboardist Jeff Babko, and bassists Jorgen Carlsson and John Pierce all playing live in the studio, this record has an organic energy that really captures the talents of all involved.
With songs running from just 3 minutes to an epic 10 minutes, there is something special happening here. There will be some that simply don’t get the jazzy, free-form rock vibe of the album’s 8 tracks, only one of which is a rocker in the traditional Lukather solo sense. The Opener Along For The Ride is a splash of targeted energy and a biting lyric typical of Luke’s sharp mind.
At the other end of the spectrum is the epic The Low Spark Of High Heeled Boys, a mid-tempo track that slides in and out of full jazz instrumental arrangements and moody vocals. The piano/percussion mid-song section is to die for, as is Luke’s slow riffing and soloing throughout the song.
Journey Through is one the finest Luke instrumentals I can recall and despite my firm love of vocals, is another album highlight.
A pair of 6 minute mid-tempo songs continue the raw, live energy, while never once feeling underdone or missing anything like multi-layered overdubs and other production effects.
Run To Me is the obviously ‘happy’ song of the album and has a full Beatles vibe going on, propelled by guest drummer Ringo Starr playing his part.
Another epic closes the album. The 8 minute Bridge Of Sighs is musically intense, drenched in organs and guitar and some brilliant solo pockets where the guys all get to shine.
Some won’t get this album. It’s not all rock and it’s certainly not a commercial record. it’s largely mid-tempo and its very loose. But dropped into the Lukather discography, it really is a perfect fit. It makes total sense and blends a little of everything from the legendary guitarist’s career.
And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.
I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.
One of my main objectives of running MR over the years is to give a voice to independent artists who otherwise might fly under the radar of potential fans.
Seven Ravens is a self-funded, self-recorded, self-released album featuring guitarist/producer James LePack and songwriter/producer Scott Bazzett – the very definition of an indie release, but one that demands your attention.
No expense has been spared on this record, with powerhouse vocalist Michael Bormann hired to sing, Matt Starr is on drums, the album was mixed by Pete Newdeck and mastered by Harry Hess. Also on board is the always brilliant Tony Franklin on bass and Bobby Jarzombek on drums.
Over the years I have seen names brought into a project to cover up inadequacies within, but the sum of all the names involved here only enhances what is already a monster base.
This is a big sounding hard rock record, in the traditional American sense, Bormann singing like the legend he is, but the album is founded on a huge guitar sound and a really tough production, putting it into the quality of material a major artist might be proud of.
The songs aren’t necessarily instant, but they are there, and repeated listens uncover those layers and melodies and also unlock so much more riffing!
This is a record for fans of classic Dokken and heavier Jaded Heart, with all bases covered as far as production, mix and even packaging. It’s a class release from top to bottom.
Unruly Child are one of those bands that should have received more due. Marcie Free is an international treasure and the core duo of Guy Allison and Bruce Gowdy are two very fine musicians who deliver every time.
A band who started with a hard edge but veered more AOR and were accused by some of being too soft have found their grunt again, with this being the heaviest album since the classic major label debut back in 1992.
I love that there’s almost a prog edge to some of the band’s material, their songwriting definitely holds more complexities than the average melodic rock outfit. 12 tracks at 60 minutes means there is a lot to absorb. 10 brand new tracks and two semi-acoustic remakes of To Be Your Everything and Let’s Talk About Love.
What I find distracting is the production quality. The mix is muddy and the programmed drums lack punch and well, lack authenticity. There’s no replacement for a real live drummer.
Playing the album at high (really high) volume, as it deserves, isn’t very easy on the ears.
I love that the album has the moody groove of the debut and there’s some great lyrical angst and antagonism as has been scattered throughout.
Of course, when you think Unruly Child you think hooks and they are delivered throughout – just not as quite as obvious as the past, but a few listens and you can hear them all over the place.
Lots to soak up here and a lot of music to appreciate. Not an instant record, but I like the kind of albums that grow over time much better. If only the production quality was that somewhere close to the debut – then this would have been a monster.
The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.
Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.
However, the two records could not be more diametrically opposed.
Toto vocalist Joseph Williams’ new album Denizen Tenant is everything Lukather’s album is not. It was carefully and meticulously produced over several months, with the production so sharp, there isn’t one note out of place.
It’s a well-crafted record that features some sublime arrangements and is every bit as polished as a full Toto release. With appearances across the record from Lukather, David Paich, Simon Phillips, Leland Sklar, Lenny Castro, Nathan East and Mike Landau alongside percussionist Lenny Castro.
Opening with a song that could easily have come from either of Toto’s two recent albums with Williams, the lush and sultry Never Saw You Coming is pure mature Westcoast/AOR which leads into the brighter Liberty Man, which is as Toto as you can get.
The title track is pure westcoast/jazz/pop and layered with vocals and rich instrumentation. It’s everything fans love about Joseph Williams throughout his career and if that song doesn’t get you, then the out of the box Wilma Fingadoux will.
Another highlight is the Steve Lukather driven Remember Her, layers deep in keyboards, guitars and percussion.
A couple of dreamy, somewhat eclectic tracks follow before another Lukather guest spot on the simple two-and-a-half-minute pop song If I Fell.
The more lengthy World Broken closes the album in a similar fashion to how it started. Rich, textured and lush melodic rock with a touch of Westcoast AOR and Williams providing another world class vocal.
And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.
I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.
Both albums may be best enjoyed at different times and for different moods, and depending on tastes, on different levels. But the talent behind both is clearly evident.
Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.
So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.
I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.
I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.
It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.
Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.
Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.
On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.
It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.
Sweden’s Reach have straddled the line between classic rock and modern melodic rock for their first two records, but album number 3 sees them go completely overboard…or completely AWOL. Take your pick.
Gone are any anchors to the traditional melodic rock sound, with the band fully embracing modern experimental rock, with touches of electronic rock (Muse), pop (Coldplay) and falsetto rock (The Darkness). Add in the most flamboyant aspects of Queen’s experimentation with pomp-rock and some 70s symphonic ELO and you might get some idea of what’s going on here.
I have tried and tried and tried again with this album, but its not for me. And I think for those that followed the band as they trod a similar path as One Desire, Palace, Wildness and the like will probably find this album too ‘out there’ to appreciate.
There are some lush orchestral parts to the album, almost symphonic in the elaborate production and the layers of programming included. To the perfect audience, it is a really well-made record.
The guys have made a clear determination of their musical path with this record and it’s not 80s rock. For that reason, they might find themselves picking up a completely new fanbase – ones with an appreciation of modern commercial alt-rock and retro rock acts like Cats In Space. I’m not sure how many fans of the first two records will follow them into their third.
You have to admire the lads for their bold musical exploration here. But they aren’t The Darkness or Muse and I was personally thankful for that.
Their bio now describes themselves as an alternative rock band. Fair play to the guys, but I’m not a fan of alternative rock.
I’ve actually passed the point of being sick of hearing Ronnie Romero’s name connected with every damn release coming from the metal world. In the last year or so we’ve had Vandenburg, Rainbow, Magnus Karlsson’s Freefall, MSG, Core Leoni, The Ferrymen and now in 2021 he’s fronting another project. Enough already?
I think so, but Lords Of Black is actually his band and Ronnie (together with guitarist Tony Hernando) is back where he started here and this is where I want to hear his voice and where think he sounds most natural. After all, he does have a killer voice.
The 4th Lords Of Black album is an onslaught of classic European melodic metal – mixing Dio, Maiden, Helloween and the other usual suspects into a nice blend of high octane, guitar and rhythm fuelled, uptempo metal with a strong commercial bent, not to mention offering both traditionalists and contemporary metal fans something to like.
It’s a very well-produced and mixed sounding record. Its frustrating to hear metal so well executed when so many AOR records have questionable production quality. Of course, that is a side issue to this. Can’t fault it – Lords Of Black deliver once again.
I can’t recall the last time I heard a single album so packed with obviously over the top 80s melodic rock anthems. The songs, the production come from Crazy Lixx frontman and key songwriter Danny Rexon and the heavenly vocals come from Chez Kane, the British sensation who wasn’t even born before the glory days of hard rock were fading.
Through her group Kane’d and some attention-grabbing YouTube covers, she was a star on the rise until the inspired pairing with Rexon hit paydirt.
This is a powerhouse album is a throwback to the mid-late 80s where Def Leppard, Winger and Vixen all ruled their airwaves. And taking inspiration from the latter, this album sounds like a natural successor to the amazing Vixen album Rev It Up.
This is 47 minutes unadulterated, hands in the air fun. There’s no attempt here to reinvent the wheel, rather it is a vehicle to steer those wheels right back in time.
To say that Chez Kane can sing is to say yes, Eddie Van Halen can play guitar. I’m a big fan of bands pushing this genre forward and have championed many of the bands that do so. But sometimes you like and need to dive back into the favourites amongst your collection. With this album you can jump back without leaving 2021.
This album is everything that we loved about the stadium rock of the 80s, with all the energy of a big production and a healthy dose of keyboards and guitars, plus a thumping rhythm section.
Great fun songs with big choruses, harmony vocals and some inspired vocal melodies makes this a true 80s album without sounding like it was trying to be an 80s record. It just is, and credit should go to all.
If there was to be one essential female fronted album this year, then here it is folks. Utterly essential!
Eclipse are unquestionably one of the greatest and most consistent bands of the modern hard rock era. Now we get a new live CD/DVD, a happy accident after the guys set up recording and filming of a hometown gig themselves. It turned out so well the band offered it to their label, who were wise to act upon it immediately.
The set is really well recorded (and filmed) and sees the guys at the top of their game as far as performance, stage craft and energy in delivering these songs.
Viva La VicTOURia takes in the band’s performance in Gothenburg, Sweden on December 21, 2019 and covers 18 tracks as well as 3 songs from the Quarantine Live broadcast earlier this year, the studio version of their cover of Driving One Of Your Cars and 2 recent acoustic bonus tracks.
That makes for a 2CD 24 song set plus a DVD and if that doesn’t convince you this is a mandatory purchase, then nothing will. Absolutely essential!
I love these guys. The French duo of Frédéric Dechavanne (songwriting, vocals, keyboards) and Sébastien Montet (songwriting, guitars, keyboards, background vocals) have now created 3 great European melodic rock albums. Their last was so good I put it out on my old MRR label.
Now with AOR Heaven, I’m pleased to say that the guys have further upped their game. Once again featuring the same team as the last album - Steve Newman (production, mastering, backing vocals), Dave Bartlett (bass, backing vocals) and Rob McEwen (drums), 50/50 is an album filled with catchy and memorable AOR songs, mixing keyboards and guitars equally in a way only the Europeans seem to be able to do.
It’s old school sound with a snappy, up to date production. Largely an uptempo record with plenty of layers of music, the guys retain a strong connection to the music of Newman, the production values are very similar and the vocals of Frederic, while quite unique, are shaped by Newman’s influence.
If you’ve heard the guys before, this is a no brainer. Stronger guitar riffing and literal multi-layers of keyboards are backed with a powerful rhythm section, which some acts often cut corners with. Not here – this is a powerful sounding record.
Its also drenched in melodies and harmonies, so if the European style of AOR/melodic rock is something that appeals, I recommend checking out Paris right now.
The extraordinary, uber-versatile Jeff Scot Soto has taken this opportunity to run over 10 tracks from his very varied and distinguished career in “unplugged” form.
Unplugged may be the easiest term to describe this, but it’s a little simplistic for what this actually is. The 10 tracks have been re-envisioned and totally re-worked to the point where a couple are almost new tracks.
Every track is a winner – not hard when you’re picking 10 amazing songs – but even then, some stand out as really surprising and might even rival their original versions for passion and performance.
JSS’ vocals here are nothing short of amazing and give the stripped back nature of the songs, you really get to hear him wail. For me, the voice is the lead instrument on this release.
As JSS fans, you’ll know the songs – but special mention goes to:
Eyes Of Love was one of the big songs that really launched JSS as a solo artist and it sounds fresh and vibrant here.
The big ballad If This Is The End is simply sublime here. A vocal that defies gravity and so much passion.
Holding On was another key solo track and here features an even more soulful touch.
Till The End Of Time is re-made for acoustic guitar and sounds great.
Don’t Walk Away is perhaps the biggest left-turn of this release – re-imagined here as a R&B soul anthem….very cool.
Somebody 2 Love from the original Eyes album is another twisted gem. Soulful vocals, acoustic guitars and…a twang? Love it.
Great fun, relaxed and laid back, soulful and passionate – lots to love about these 10 songs and the production behind the re-thinking is well worth the investment here.
Bite The Bullet were originally formed in 1986 by singer songwriter Mick Benton and drummer Graham Cowling. The music played was in the style of Foreigner, Toto and Mr. Mister, an album was released in 1989 to some quiet success. In 2020 Mick and Graham decided to get writing new material for a second “Bite the Bullet” album.
It is available now and I must say it is a joyous soft melodic rock affair. A real pleasure to listen to. I’m finding comparisons hard to draw from, which to me is a sign the guys got it right.
I’m so tired of everything sounding the same, with only vocals differentiating one project from the next.
Black & White is a pure British AOR album, drenched in keyboards, but still driven by guitars and strong, unique vocals.
It’s a totally 80s sounding affair, yet a decent production keeps the sound in today’s realms.
There’s some Midwestern influences, some pop/AOR and straight up melodic rock amongst the albums 12 tracks. If you like real Bryan Adams, Heartland, Van Stephenson, Mr. Mister…give this a spin.
Aussie hard rockers Wicked Smile released their debut EP earlier this year. It’s a CD and digital release, so check your regular outlets for availability. For a release that’s only 4 tracks long, the guys make a real impact with this EP. 4 toe tapping, head banging, melodic hard rockers, with a classic era feel, yet a contemporary production courtesy of Paul Laine.
The band features the powerhouse vocals of Danny Cecati (ex-Pegazus & Eyefear), who delivers a raspy and at times gruff vocal, that ultimately turns melodic come chorus time. He really makes a big impact on this material. Guitarist Stevie Janevski (The Radio Sun & ex-Black Majesty) gets to really crank things up for the first time in a long while and he sounds ‘electrified’ on these 4 songs. Super heavy for The Radio Sun fans, but very comfortably at home for those that know Steve from the Black Majesty days.
Dave Graham joins Steve on guitars, with Glen Cav on bass and Jason Tyro on drums making up the very capable rhythm section.
It may only be an EP, but everything really comes together or Wicked Smile on this release. I’m left wanting more, with the 4 tracks all making their own mark. Outstanding start, hoping for a full-length album in the near future.
Finland's Temple Balls have really kicked up the dials for album number 3. This is a fast moving, kick ass, tour de force of melodic hard rock, easily blowing away their first two efforts in terms of songwriting, production and performance.
This album compares favorably with the most recent HEAT album and also classic Gotthard alongside old classics like Motley Crue, Kix and LA Guns.
It has that European hard rock feel, but a monster production effort from HEAT's Jona Tee has the band firing on all cylinders and there is a lot of HEAT at their heaviest in the new album's sound. Tee also produced the band's last album and played on the debut, but this is head and shoulders above all that came before it.
It's an all-guitar high energy attack from the opening riff with vocalist Arde Teronen really driving the melodies home.
Berlin have joined a select few classic artists that have delved into their studio cuts to revive them with the backing of a symphony orchestra.
American 80s favourites Berlin, the sometimes pop, sometimes rock outfit have delivered a highly enjoyable set of 11 songs (and an intro), all given a really fresh revamp with the orchestral infusion. These aren't re-records - its the original songs, with a fresh mix.
This is a great reminder of how many great songs Berlin have - from the iconic Take My Breath Away to the underrated classic No More Words and their cult classics Sex (I'm A) and The Metro. Then in the latter years you get the rockier Like Flames, Will I Ever Understand You and the brilliant moody You Don't Know.
All wrapped in this rich symphonic tapestry - highly recommended!
The wonderful pure AOR voice of Robbie LaBlanc is back in focus under his own moniker after a few recent project outings.
This album is described as a 70s and 80s pop/rock affair and I think that’s fairly accurate. There’s some pure commercial 80s AOR, some 80s pop, some more soulful 70s pop and a couple of songs with a heavier bluesier edge.
The album is controlled musically by Tommy Denander (all guitars, keyboards and co-production), so you know the sound/production style you are getting right there. The majority of the album has that programmed feel, drums are credited to a “Michael Lange” (his only other credit is on the last Robert Hart album with the same production team), they don’t sound live to me.
Steve Overland joins in for backing vocals throughout and his contributions are always welcomed. Second track Start The Motor Running has him all over the song. The super smooth My Lips Are Sealed stays in my mind after playback.
Other highlights include the opening anthem Only Human and Good Time plus the heavier track Temptation.
I love Robbie, but I prefer his recent appearances on East Temple Avenue, Find Me and the sublime Cannonballz album.
Fans of Radioactive and the Denander sound will appreciate this and the vocal quality of LaBlanc raises the overall quality of the songs.
Credit where credit is due, this is one of Frontiers Records best project ideas and the fact that the guys are delivering album number 4 shows that it has worked.
And in delivering their forth studio album, the W.E.T guys deliver another powerhouse statement. This is another classic for the genre and features 11 brilliant songs that lay a fresh path for the band without going outside the parameters of what we loved about the first three records.
‘Retransmission’ is melodic hard rock perfection from start to finish. From the glorious Big Boys Don’t Cry to the closing stadium knockout One Final Kiss. The album has a more direct, straightforward approach and is more guitar driven than its predecessors, changes you might think put the sound firmly into Eclipse territory, but no, W.E.T retains its own personality and there are still plenty of Robert Sall delivered keys underneath the layers and Jeff Scott Soto is a joy to listen to.
There are moments where you think this is Eclipse, but the JSS stamp quickly reminds you what you’re listening to. Erik Martensson is of course the chief architect and he has built another impressive 11 track structure here.
There’s two songs that could be described as ballads – but they’re more anthemic AOR songs (Got To Be About Love andWhat Are You Waiting For) – and the rest are all hands in the air singalong hard rockers with a crunch only matched by the sheer gloriousness of the harmonies.
Not only are there several moments that rival the best songs W.E.T have delivered to date, but there’s a few places where you think, wow, that’s a fresh take for these guys (such as the bombastic rhythm of How Far To Babylon).
And just when you think it just can’t get any bigger or better you get a song like You Better Believe It.
A perfect melodic hard rock record. Sharp production, blindingly good songs, huge vocals and even bigger harmonies and there’s 11 tracks of this where the pace barely take a breath and the quality doesn’t let up for a second.
Italian power/progressive metal outfit Secret Sphere return with their 9th studio album since their debut in 1997. Quite a feat considering how many bands come and go in just half the time the band has been active. This album sees the return of vocalist Roberto Messina to the fold, whom fronted the band from 1997 – 2012.
To be honest, I’ve overlooked these guys apart from an occasional glance, but Lifeblood has got my attention.
To be spoken of in comparative terms to Dream Theater for their prowess, or Masterplan for their power gives you a decent indication of what’s happening here.
Production and mix are both flawless and give the energetic songs their best chance to shine.
Vocalist Roberto is a powerhouse without sign of a heavy accent, giving the band a true international flavour and at 10 tracks clocking in under 50 minutes in total, there are only room for 2 longer tracks here, the rest get to the point fairly quickly. That means you’ve got hooks and progressive noodling competing for time, which is a winning combo for fans of a great song.
Its fast and sometimes furious, the double kick drum gets a real beating, but with strong vocals and an emphasis on melody, Lifeblood makes a big play for one of the best metal albums of 2021.
Guitarist and founder Andreas Gullstrand said Creye have never sounded better and I’d have to agree. The superb pure Scandi-AOR debut has been bettered and expanded upon on ‘Creye II’ and the transition to new vocalist August Rauer seems complete with no interruption to the sonics or pure AOR fans fell in love with the minute the band were introduced to the world.
Creye ‘II’ uses a more contemporary production template, with more effects, some programming that give it a strong modern edge, but the songs and the vocals especially are pure 80s at heart.
The upbeat and free flowing tempo give the album a sense of urgency, and with only one ballad you might think its overkill. But the fact is there is so much texture within the songs, moments of reflection, big choruses, passages of moodier moments and then some moments of more prominent guitar, which comes as a contrast to the layers upon layers of keyboards and piano.
So many song highlights to speak of. At 13 tracks it might seem a little long, but the album clocks in at 42 minutes, so these songs are all straight down to the business of delivering heartfelt emotions and big choruses.
All in all, this is quite wonderful ‘old school contemporary’ record wrapped in the pure keyboard driven AOR of Scandi-80s pop/rock and the programming and production techniques of today. The production and mix are first rate, which is vital to making the record sound so fresh. It could easily have been a muddy mess if not done correctly.
Masterpieces don’t come around too often, nor do albums that push the glacial boundaries of what normally defines the AOR/melodic rock genre. This album is everything I love about melodic and heartfelt music, wrapped up into a contemporary package that will appeal to old school devotees and a new generation who appreciate well crafted pop songs with an edge.
In an age where synth-wave is a growing phenomenon, Levara mix the best of a retro meets modern sound, delivering a bright, fresh and uplifting collection of songs, supremely written and crafted and expertly produced like a slick major label release from the 80s.
If you’ve been living under a rock with no internet connection, Levara are Trev Lukather (son of Steve Lukather) on guitars, bass and keys; drummer Josh Devine (son of vocalist Mick Devine) and vocalist Jules Galli. They are an extraordinary trio.
Half of the 10 tracks are already released as videos and if those haven’t convinced you of the brilliance of these guys, then there’s still 5 more chances with the remaining album cuts.
Of those, On For The Night offers listeners a lush mid-tempo melodic rocker before a Toto-esque rhythm sets up the monster ballad Allow.
Towards the end of the 38 minute album is a pleading modern rock song Just A Man that gives way to one of the finest and most gut-wrenching ballads in recent memory. No One Above You is simply wonderful – perfection personified and the bombastic end is majestic.
Chameleon is still on the top of my Best Songs of 2021 list, you just don’t get intelligent, unpredictable songs like this that often.
Oh, and vocal God Steve Perry pops up in amongst the choir of harmony vocals that are all over the record.
It’s a rare occurrence for me to agree wholeheartedly with a band’s own press release, but the words of Trev Lukather to sum up Levara are as good as any I could write. He says Levara is “Anthemic, massive drums, epic fills, loud guitars, soaring solos, huge vocals, unreal high notes, strong melodies and a hook that you can’t get out of your head.”
Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.
Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.
It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.
Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.
Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.
I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.
Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.
God bless AC/DC, may their reign over metal heads until the end of time itself.
Kreek was first formed in the summer of 2019 after Bigfoot parted ways with frontman Antony Ellis, who went on to form this new group.
I personally found the Bigfoot debut to be fairly likable and a solid album. Unfortunately for Ellis, Kreek doesn’t carry the warmth or appeal of Bigfoot over to the new band.
In fact, one of the weakest aspects of the Kreek debut are the lead vocals of Ellis. His tone and delivery just aren’t what they were in Bigfoot.
Also missing are the songs. I honestly can’t find a lasting appeal with any of these songs and now reviewed, probably won’t revisit this album ever again.
Its not melodic rock. Its not quite hard rock. Its not quite sleaze and it’s not straight-ahead rock. I think it lacks personality and the quality of songs are just not there.
Production is average, songs are average and the vocals are very average.
::: NITRATE returns with “Renegade” on July 30th, 2021! :::
(c) Nitrate/ Nick Hogg
Nitrate is back with their third album; ‘Renegade’, a follow on to their previous highly rated albums ‘Realworld’ in 2018 and ‘Openwide’ in 2019, which achieved great success. Inspired by the late 80’s rock scene with bands such as Def Leppard, Europe, Motley Crue, and Bon Jovi, Nitrate is the brainchild of song writer Nick Hogg (bass guitar) from Nottingham England. Nick has this time changed the line-up and enlisted Alexander Strandell (Art Nation) to take over on Lead Vocals & has teamed up with Tom & James Martin (Vega) & Mikey Wilson (Kimber) to produce an album that has been heavily influenced by Def Leppard’s ‘Hysteria’. With Tom Martin playing all the rhythm guitars and James Martin taking over on Keyboards the album delivers a more melodic/AOR feel than ever before. Renegade delivers 11 Hook filled tracks with great melodies, walls of keyboards and backing vocals supplied by Alessandro Del Vecchio. Tracks were inspired from bands such as Def Leppard, Starship, Journey, Skid Row, and Roxette making for a true 80s sound. Taking over on Lead Guitar is Dario Nikzad (Hell to Play).
Nitrate is: Nick Hogg - Bass Guitar, Alexander Strandell - Lead vocals, Tom Martin - Rhythm Guitars, James Martin - Keyboards, Dario Nikzad - Lead guitars, Mikey Wilson - Drums p; & additional guitar and keyboards, Alessandro Del Vecchio - Backing vocals;
Produced by Tom & James Martin & Mikey Wilson; Mastered by Alessandro Del Vecchio; Engineered by Tom & James Martin, Mikey Wilson, Alexander Strandell, Dario Nikzad, Alessandro Del Vecchio & Paul J King
Music recorded at Strandell Studios - Sweden, Osborne Studios - UK, Ivorytears Music Works - Italy, Soundwave Studios - UK
Mixed by Mikey Wilson ; Mastered at Ivorytears Music Works
All songs written by Nick Hogg, Tom Martin & James Martin Except ‘Alibi’ & Children of the Lost Brigade’ Written by Nick Hogg & Rob Wylde & ‘Renegade’ written by Tom Martin, James Martin & Nick Workman
::: STEPHEN CRANE & DUANCE SCIACQUA team up for “Big Guns”! :::
Big Guns was formed in 1985 as a direct follow up to the record “KICKS” by Stephen Crane (MCA 1984). Due to Irving Azoff’s departure and the ensuing shake up at MCA that year, KICKS was left without any marketing or promotional funds and was basically ‘Dead on Arrival’ and did not chart. Although, interestingly enough, the record has subsequently been re-released two times in Europe and has received rave reviews!
As a result of MCA’s inability to promote the album and band, Stephen Crane and Duane Sciacqua continued their quest to write and record new songs that were, and still are relevant in the world of Rock! Joined by then band member, Johnny Burnett (RIP), Crane and Sciacqua soon enlisted fellow band mates Paul Daniel (drums), and Matt MacKelvie (guitars, keys, vocals) and created “BIG GUNS”. They began a series of recordings with engineer Brett Gurewitz at his Hollywood studio. Crane and Sciacqua wrote, or co-wrote, and produced the songs that would become their self-titled album “BIG GUNS”. The band became a staple playing around Hollywood at the ROXY, FM Station, and other well-known rock venues. They received label interest but could never reach an amicable agreement and their search waned - players moved on, lives changed and BIG GUNS faded into the Rock n Roll sunset.
Many years later as good fortune would have it, the once forgotten Stephen Crane album (KICKS) received its popular acclaim, and the search for the long forgotten tapes was on. Georg Siegl at AOR Heaven, sought out guitarist Sciacqua for material, and the re-emergence of BIG GUNS was underway. After searching through the archives of years past, Sciacqua found the missing BIG GUNS tapes and through careful remastering and some re-recording was able to render the 10 tracks that make up the album.
This project stands as a monument to the songwriters, the singers and the players who dedicated their time and talents to comprise their self-titled album “BIG GUNS”.
:::TUPLE releases new video for ”Welcome To Hell” today!” :::
“Welcome To Hell” (out today) is the follow-up to the highly-acclaimed “Wooden Box” album by TUPLE which was released in 2020 via AOR Heaven and resulted in a charty entry in the native country of this Finnish artist.
Finland is well-known for its Heavy Metal roots. Far and wide comes the list of Metal bands that are known all around the world. But there’s also a strong Melodic Rock/AOR community. Bands that rely, not only on heavy riffing, but also strong melodies and larger-than-life keyboards. TUPLE is a good example of it. Catchy songs, great melodies, fine artistry.
To celebrate today’s album release, TUPLE has released another video today:
Who on earth wants a Goo-y Christmas album? This monstrosity of cheese soaked, soggy cardboard ‘music’ is the ultimate 2020 ‘fuck you’ to fans of this once great band. As if everything else this shit sandwich of a year has served up isn’t enough, the Goo’s end all hope for humanity with this ultimate betrayal of everything the band once stood for. This almost makes me wish for a shit sandwich. More like a soggy lettuce hemorid.
Yes, I hate Christmas albums. Yes, I hate most Christmas songs, although there’s a handful out there that allow me to stop saying bah humbug long enough to enjoy.
And yes, the most recent Goo Goo Dolls output has been largely uninspiring. It’s been a long while since Long Way Down and Slide ruled the airwaves and the band sounded half interested in rocking their fanbase.
But this horrendous record is simply too much. Safe, boring, cheesy and lazy are its good qualities. This is so insipid it makes Wham sound like Napalm Death. One of their kids even sings lead on one track. I don’t even care enough to find out who. It will never pass my ears again.
From tracks that sound more like a badly imitated Tom Petty (his track opens the record) to jazzy Michael Buble standards, this is almost criminally bad.
Only the original track This Is Christmas (which is basically the sappy parts of Iris re-written) has anything remotely connected to the band’s past sound.
No redeeming features to this at all. Horrible. It gives new meaning to the word bland and if your ears can stomach all 30-odd minutes of this disaccharide goo, a good blast of the aforementioned Napalm Death is required to cleanse one’s musical palate.
