Reviews

The Lion and The Wolf – Cardiac Hotel Review

Posted on by edwardlayland

tlatw-cover-digitalwebresThomas George is the misty voiced curator of The Lion and The Wolf and his second album The Cardiac Hotel is quite something. A whole lotta heartbreak has been poured into this record, yet its atmospheric mix of indie folk rock boasts an enviable maturity and poise that give it a warm intimacy. Although he may be dealing with difficult subjects like his father’s illness, grief and lost love, it is very accessible and something we can all relate to, as the intimate nature of the songs wrap the listener in comfort and understanding.

‘Don’t Fail Me Now’ sets the tone with an aching yet uplifting ode to love, the melancholy horns almost half heartedly tickle a wry smile onto the lips of those who’ve loved and lost. This is immediately followed by what, for me at least, is one of the album’s finest moments on ‘Heaven Forbid’. This is a darkly sublime beauty of an open wound, its layered textures of ponderous percussion and spacious guitar lines make room for an emotional vocal.

There’s plenty more feelings on display as the record progresses through the soothingly reflective ‘My Father’s Eyes’ and the melancholy ‘The Hospital Floor’, with its subtle touches of horns that punctuate the lilting piano melody. Things take a folky turn on ‘The Pinching Point’, which features a heartbreaking violin in the mid section, while ‘Walk on The Moon’ is more upbeat and offers comfortable melody.

To be honest, there’s not one song on here that doesn’t work; every single track has something to offer, whether it’s the late night sorrowful lament of ‘Barstools’, with its air of bitterness and defeat or the coolly delivered ‘Past The Point of Fair’. Then there’s the more powerful ‘December’, which sounds like something Ben Watt might do, with lyrics like “The body I have is a ghost town” and the slight drama to the percussion that builds as the song gathers an emotional urgency and Thomas delivers his most complete vocal performance; great stuff.

The bittersweet reflection of the smooth ‘Witness’, with its tumble down piano, precedes the subtle beauty of ‘Find the Time’ which eventually gathers into a rousing barrage of horns to round this fine record off in style. It is a fitting finale to an album that will endure; one that is peppered with many a moment of sublime beauty and that possesses a wonderfully human quality that speaks to us all. Sublime, beautiful, heartbreaking and hopeful – like a warm hug from a good friend – immerse yourself.

9/10

‘Cardiac Hotel’ is out now on Xtra Mile Recordings.

Check out The Lion and The Wolf at https://m.facebook.com/thelionandthewolf and https://thelionandthewolf.bandcamp.com/

The Mission – Another Fall From Grace Review

Posted on by edwardlayland

the-mission_another-fall-from-grace_front_cover_onlyIt was a brave step by Wayne Hussey to set out to make an album that sounds like 1985, yet it is one that by and large he manages to pull off. ‘Another Fall From Grace’ plays like an echo, an echo of former glories when The Mission were riding on the cusp of a wave towards being the UK’s biggest alternative rock band, or an echo of days gone by, when making epically dramatic tunes was de rigueur in the realm of Goth.

Tentative drum beats signal the opening of title track, ‘Another Fall From Grace’, but it soon takes shape around a rumbling bass line as layers of jangly 12 string guitars weave a tapestry of wonderfully bombastic Goth drama reminiscent of Tower of Strength’. Hussey sounds a little older and wiser, but there’s still a powerful richness to his voice and this deeply layered epic is surely one of the finest tunes this band has ever produced.

They seem to have rediscovered their signature sound and on ‘Met-Amor-Phosis’, featuring Ville Valo, it effortlessly translates into the type of song that would’ve bothered the top twenty back in the day. ‘Blood On The Road’ is in a similar vein, but despite being rockier, it is actually a little lacklustre and doesn’t quite nail it.

Nevertheless, there are plenty of moments when they do totally nail it, whether it’s the brooding drama of the atmospheric ‘Within The Deepest Darkness (Fearful)’, featuring excellent vocal contributions from Martin Gore and Gary Numan, or the instantly likeable ‘Can’t See The Ocean For The Rain’; a quality, largely acoustic number with a wistful air.

However, it’s on ‘Tyranny of Secrets’ that they are firing on all cylinders; there’s a distinct Sisters of Mercy feel to the driving electronica of the opening, but it’s got everything else that we know and love about the Mission besides a surprising element of vitriol to the vocal; great tune.

In fact, this opens a section of the album that is pure class, as the wonderfully overblown ‘Never’s Longer Than Forever’ and the intricate intensity of ‘Bullets and Bayonets’ follow stylishly before the spoken word reflections of ‘Valaam’. This segues neatly into my favourite moment of the album, the emotionally charged ‘Jade’ with its signature guitar lines and a haunting piano melody typically reflective of glories past. The song meanders along in darkly atmospheric fashion until Simon Hinkler finally lets rip with a soaring solo, before an emotional finale where Wayne gives it both barrels. This is the Mission at their finest, talk about recapturing whatever it was that once made them great.

Despite being firmly rooted in the past, it is interesting that on closing track ‘Phantom Pain’, another dark 7 minutes, there are some skittering saxophone touches to add a little extra depth. It is a cool touch and offers a hint that this creative well is far from running dry.

All in all, ‘Another Fall From Grace’ is a deeply satisfying record full of great touches, including a number of subtle backing vocals from long term collaborator Julianne Regan; long time Mission fans will surely be overjoyed that they have managed to recapture the essence of what it was that we fell in love with all those years ago, whilst also looking forwards. Sure, at 12 tracks and over an hour long there’s probably one too many pedestrian paced sweeping epics making it a little OTT, but I’m sure Wayne wouldn’t have it any other way, especially when it is such a strong album both musically and vocally.

9/10

Get the bombastic new album right here: https://the-mission.tmstor.es/

Metallica – Moth Into Flame Review

Posted on by edwardlayland

Hold the phone, Metallica just dropped another track from the forthcoming album, ‘Hard Wired’, and much like the first single there is a nagging sense of familiarity about it. This, however, is no bad thing, as it sounds like the Metallica we know and love being the Metallica we know and love – it’s like they’re done pissing around and have gone back to writing quality heavy metal.

‘Moth Into Flame’ is not quite the full on thrash fury of the first single, but this take on the attractions and pitfalls of fame is a satisfying listen and worth it for the blazing Kirk Hammett solo alone, heavy wah wah and all. The track opens with a Maidenish lick that soon turns into a chugging riff straight out of the bay area, featuring those little rising licks on the end of riffs, besides the typical Lars stops and fills, a slick vocal from James and even a hint of harmony on the chorus.

Ok, so there’s plenty of recycling going on, including a mid section tempo change, lines with only one word – ‘Decadence!’ – and I’m sure I’ve heard that melody somewhere before, but hey, who really cares? They’ve proved everything they’ve ever needed to prove, conquering the rock world in uncompromising fashion, I mean, when you’re heavy metal champion of the world you can do a lot worse than sound like a copy of yourself with a few of your influences and contemporaries thrown in for good measure. Sounds like the new album will rock.

Prophets of Rage – The Party’s Over EP Review

Posted on by edwardlayland

ep-coverProphets of Rage is a supergroup named after a Public Enemy song, featuring the uncompromising rapping of Chuck D and Cypress Hill‘s B-Real, with Tom Morello, Tim Commerford and Brad Wilk of Rage Against The Machine, as well as Dj Lord of PE manning the decks. According to the band’s website “We can no longer stand on the sidelines of history. Dangerous times demand dangerous songs. It’s time to take the power back.” And that’s precisely what they deliver on this hard rocking, hard rapping collection featuring one original song ‘The Party’s Over’, and four reworkings of assorted classics.

A siren call hails the calling card opener, ‘Prophets of Rage’, which is sounding fresher than ever with Morello’s signature riffing and a new verse from B-Real, whose sharp delivery is a good foil to Chuck’s rough edged baritone. It’s a simple but effective protest song stacked with old skool references, whilst still sounding current; its slick delivery like a controlled release of pent up anger.

The band’s first original material comes with ‘The Party’s Over’, which kicks in with a signature bass heavy riff typical of RATM, and rumbles along at a slow grind as Chuck and B-Real trade verses expounding on the failure of party politics. It’s a hard hitting tune that pulls no punches and as they crank up the intensity for the furious finale it all just sounds so damn badass as everything slips perfectly into place.

It’s pretty hard to go wrong with such a superb song as ‘Killing in the Name’, and the dual vocal attack totally nails it, besides delivering a nice twist on the lyrics in the second verse with “Some of those that hold office/ are the same that burn crosses/ some of those up in congress/ are the same that burn crosses”. As the song builds to its inevitable climax of ‘Fuck You…’, the dynamic sounds like that of a band that loves playing together, they may be protesting against pretty much everything, but it sure as hell sounds good.

‘Shut ‘Em Down’ features a verse each from the Cypress Hill and PE songs of the same name and is another hard rocking slice of hip-hop. It’s easy to see how these bands always crossed over so well. Final track, ‘No Sleep Til Cleveland’, is basically the Beastie Boys’ classic mashed up with Enemy’s ‘Fight The Power and reworked for 2016. Here Morello comes into his own as he rolls out all the tricks on a mesmerizing instrumental section – first time I saw Rage he blew me away – good to hear he’s still got it. “No sleep til Brooklyn” morphs into “til Cleveland” at the end, as it was recorded at the band’s protest against the Republican National Convention in the same town. Talk about taking it to the streets!

On the whole this is a mighty fine showcase of what Prophets of Rage have to offer and is testament to the commitment the various members have to their political principles. Moreover, they sound so naturally good together that it would be great if there were more original material to come taking it beyond reinterpretations of their own impressive catalogues.

9/10

http://prophetsofrage.com/

Metallica – Hardwired Review

Posted on by edwardlayland

There are very few bands left in the world for which the release of a new record would be an event, and lets face it, outside of the reformed Guns n Roses dropping ‘Appetite…Part 2’, the biggest possible such event is new music from Metallica. The San Francisco metallers once thrashed out 4 albums in five years, so having waited 8 years since ‘Death Magnetic’, a new album is long overdue, but finally, come November, the 12 track double album will hit the racks. In the meantime, we have the video for album opener ‘Hardwired’, which they dropped yesterday, August 18th, three months ahead of the album. The question is though, is it any damn good?

The short answer is yes, of course! It’s fucking Metallica, even their worst music is streets ahead of the majority, the bigger issue though, is whether it will stand up alongside ‘Master of Puppets’ and the uber popular Black album, which is precisely what it sound as if they are aiming for. The production has that clean crisp resonance of Death Magnetic, not surprising given Greg Fidelman is once again fiddling with the knobs, but there is more than an echo of ‘Battery’ to Lars’ furious drumming and Kirk’s blistering soloing. There’s also a definite air of the early 90s about the black and white claustrophobic video for the track.

The song actually begins with machine gun riffing/beats and a staccato riff á la ‘Enter Sandman’, before the real thrash gallop begins. It features all those little stops, time changes and familiar elements of the signature Metallica sound, although James wasn’t exactly up all night on the hook – “We’re so fucked!/ Shit outta luck”. He does make amends in the ‘Whiplash’ style third verse however – “Once upon a planet burning/ Once upon a flame/ Once upon a spirit turning all in vain/ Do you feel that hopeless feeling?/ Do you comprehend?/ Do you feel it terminating in the end?”. It all sounds somewhat familiar, but hey, I guess that’s kinda cool, we want Metallica to sound like Metallica!

After repeated listens, I’ve gotta admit that it pretty much hits the spot – one foot in the past, one in the present – ok, so it may lack the rawness of ‘Ride The Lightning’ or ‘Master of Puppets’, but this is brand Metallica launching new product, so there’s no way it will ever be that amazing again. However, considering that it’s now thirty something years down the line and the band are in their fifties, it’s good to know that like the rest of the big four, they can still shred. See for yourself right here:

The official word from Metallica: https://metallica.com/blog/news/429181/hardwired-to-self-destruct-available-november-18-2

Witterquick – Beneath the Spinning Lights Review

Posted on by edwardlayland

PromoImage1This is a classy offering to showcase the talents of upcoming British rockers Witterquick. The five piece from Exeter formed a couple of years ago and have taken their time perfecting their art into five rather good tunes on their long awaited debut EP ‘Beneath The Spinning Lights’. They are on the melodic side of the alt-rock spectrum and there’s an anthemic feel to their well crafted songs that makes for highly enjoyable listening; don’t be surprised if they start picking up some serious airplay.

Opening track ‘Soldiers’ has been kicking around for a while; its laid back rock groove, rousing chorus and unhurried approach are pure quality. The uptempo ‘Fade Out’ follows with another catchy chorus and shows off frontman Will Alford‘s vocal versatility.

Their radio friendly appeal is very evident on the smooth ‘The Road’, its atmospheric lead in adding a laid back dimension to what is a big tune of soaring guitar lines. Although it is another winning moment, it is very much within their comfort zone as they tend to stick to traditional arrangements to structure their work.

Even so, every track on the EP has something to offer, the acoustic strum and easy piano melody of ‘Wayward Signs’ highlights their heartfelt side and is a quite lovely track. The interesting thing here is the restraint they show, it’s a very mature approach for such a young band that obviously has the chops, but has chosen the route of less is more; good work fellas. ‘Rise’ then rounds things off in style as they kill it on this massive track of superbly delivered hooks; it’s a stirring finale that helps make this a well rounded little collection of songs.

Witterquick seem to have a natural feel for quality tunes and there’s a hell of a lot of potential on display here. It would be great to see these guys push their creative boundaries a little and see how far they can go.

8.5/10

‘Beneath The Spinning Lights’ is out now on LAB Records and is available from http://witterquick.co/

Parent – Parent Review

Posted on by edwardlayland

a2085079901_10If you’re anything like me and are a bit of a sucker for some folky melancholy, then Parent are probably right up your street. This is the self titled debut offering from the Manchester duo of Jason Brown (guitar) and Rachel Kern (voice), ably assisted on bespoke string arrangements by Sarah Brandwood-Spencer, and it features a selection of beautifully crafted songs.

‘Dear Lucia’ opens proceedings with an energetic acoustic intro that soon gives way to sedate orchestrated folk. It’s pleasantly atmospheric and Rachel’s chocolate smooth voice is very easy on the ear. ‘Weren’t That Bad’ and ‘You’re Not Broken’ follow in quick succession, continuing the relaxed vibe; it’s all very soothingly melancholic and both tracks benefit from the orchestrated elements that give their sound another dimension.

‘Tipperary’ and ‘Oh Lover’ are comparatively ordinary, but hint at their versatility. ‘Trying’, meanwhile, stands out for its emotional climax as Rachel pushes her vocal range, while delicate touches of piano compliment the swirling orchestration; good track.

Things take a sunnier turn on ‘This Place’, with its slight country feel to the guitar, while piano driven ‘Maneater’ has a jazzy bossa nova vibe that shuffles along nicely. In fact, there’s a surprisingly varied mix on offer, whether it’s the soulful ‘Disadvantage’, the acoustic jazz and meandering violins of ‘Hold on Till Tomorrow’ or the melancholy lament of ‘Until Then’. There’s even a somewhat surprising cover version of ‘You Are My Sunshine’, though it’s a totally non-sunshine dirge like version packed with emotion.

Although the lack of percussion gives the record a slightly empty feel, there is plenty to like about these well crafted songs and a lot of potential in their emotionally charged work. Obviously, Parent‘s appeal is more likely to be among those who like their listening on the easy side, but we all need to chill sometimes so why not check it out.

7/10

‘Parent’ is available to buy right here:
http://parentmusic.bandcamp.com/album/parent

Whitney – Light Upon The Lake Review

Posted on by edwardlayland

52287-light-upon-the-lakeFormed from the ashes of indie/rock band Smith Westerns and Unknown Mortal Orchestra, Whitney grew out of exploratory songwriting between Max Kakacek and Julien Ehrlich, soon becoming something of a collective, with seven members playing a variety of instruments. Their sound is an enjoyable blend of indie folk rock with a heavy seventies influence and a touch of Americana, and although it’s not exactly at the vanguard, boy, do these guys make a lovely noise.

‘No Woman’ starts out lullaby smooth before a horn motif gives way to an acoustic strum and a fairly watery vocal, but as the falsetto gains a little strength so to does the song. There’s a little orchestration from lilting violins, meandering guitar lines and rich percussion, by the time the uplifting horns come back it’s a richly textured multi-layered thing of beauty, what could easily sound crowded is instead complimentary, with each element given a little breathing space; masterful.

Their use of horns is a constant throughout the album, and along with the groovy guitar licks and the subtle orchestration, many of the songs end up taking on a whole new dimension. ‘The Falls’ for instance, is a quirky two minutes of indie folk, but it features an array of nice little touches that give it a little depth, while ‘Golden Days’ suffles along pleasantly enough until the uplifting horns take it to a whole new level.

At its worst, the album is merely likeable, as on the stripped down title track or the jazzy interlude of ‘Red Moon’, but when everything comes together ‘Light Upon The Lake’ makes for compelling listening. Take ‘Dave´s Song’, the 70s tinged guitar licks add an emotional edge to this easy tale of lost love, the horns once again making it another lovely track. Then there´s ‘Polly’, which is a gorgeous piece of heartfelt crooning that showcases what they are all about – uplifting horns, emotive licks, soft percusion and emotion filled vocals that all makes for beautiful textures.

Although there is a strong nod in the direction of the past, they sound fresh yet retro, be it on the upbeat groove to ‘No Matter Where We Go’ or the Hawaiian vibe of ‘On My Own’, it’s all very likeable. ‘Follow’ closes the album in similar vein with an easy bass groove and bright guitars that give way to a melancholic horn, before building to a characteristically vibrant finale.

There are some quite gorgeous moments on this sublime record from Whitney, and it´s a strong debut album, with beautifully constructed songs boasting rich textures that make for highly enjoyable listening.

8.5/10

Lonely The Brave – Things Will Matter Review

Posted on by edwardlayland

LonelyTheBraveI recently wrote an article on the “difficult” second album, highlighting a variety of bands that under pressure of time, money and success either failed to meet expectations or totally fucked it up. So, you’ve got to hand it to Lonely The Brave, not only have they taken their time, but they haven’t succumbed to the lure of the big time and staked all their chips on their commercial appeal. They have instead come up with another fine record, building on the template of debut album ‘This Day’s War’, only slightly darker and a little more substantial.

The atmospheric ‘Wait in the Car’ opens proceedings at a melancholic pace with a wonderfully understated vocal before segueing into the massive ‘Black Mire’, its goose bump inducing guitar lines crawling all over the power chords and rumbling bass line. Again it’s a fairly measured track but its powerfully intense and has classic written all over it.

This arena sized intensity that is something of a signature sound for LTB pervades throughout; the meandering guitar lines of ‘What If You Fall In’ soon giving way to big riffs in the intensely hooky chorus, while tracks like ‘Strange Like I’ and ‘Boxes’ find them delivering enormous guitars and soaring vocals in no nonsense fashion. ‘Rattlesnakes’, meantime, twists around a guitar motif before reaching its own searing climax.

Another thing that shines through is the superb musicianship adding so many different dimensions to this collection. ‘Diamond Days’, for example, rolls effortlessly along in melancholic reflection, while the restrained guitars shape a laid back vibe and vocalist David Jakes shows his versatility with a great vocal. The more urgent ‘Play Dead’ then builds hypnotically to a car crash finale, whereas the clattering percussion on ‘Tank Wave’ collides into its atmospheric chords, giving it an uncomfortable air, before gaining in power and emotion on the back of another stirring vocal.‘Dust and Bones’ comes across as quite ordinary by comparison, but it’s got a good hook and links nicely with the power rock riffing and frantic beats of ‘Radar’.

However it’s closing track ‘Jaws of Hell’ that really shows what this band can do, as well as how they might develop in future. The erratic rhythms and brooding atmosphere gather in power as the track cuts back and forth, layering texture upon texture until flurries of feedback close it out. A one minute silence is then followed by ponderous piano and a poignant vocal lamenting that “time goes quicker now” to provide an enigmatic closure.

In the end, what we have here is a selection of deeply textured tracks that play to the multiple strengths of this talented band. This is the future of British Rock right here.

9/10

lonelythebrave.com/

Sixx:A.M. – Prayers For The Damned Vol.1 Review

Posted on by edwardlayland

SixxAM_Cover_PrayersForTheDamned-960x960There aren’t too many surprises on the ‘Prayers for the Damned Vol. 1’, the new album from Sixx:A.M., but hey, if it ain’t broke, why try to fix it? Nikki Sixx and co have hit upon a formula for their killer brand of hard rock that works; there’s massive choruses, massive guitars, massive bass lines and massive harmonies that all make for a massive sound on this loosely biblical album of pop metal.

Pop metal? Yep. When your lead singer is a man who writes hits for the likes of Kelly Clarkson and has an ear for a melody Katy Perry would kill for, if you took out the totally badass guitaring of the superb DJ Ashba and Sixx’s penchant for a bit of twisted darkness, make no bones about it, you’d be left with radio friendly, commercially appealing, uber positive pop.

From the word go on the first single ‘Rise’ we get everything this power trio holds dear; a hard rock groove from the low slung guitar, a hook filled chorus that flies ever higher as it progresses, a killer solo and Nikki’s bass bubbling away in the background. Damn it, there’s even the a ‘capella line before the grand finale. It ticks all the formula songwriting boxes, but when your band is this tight and your production this slick, you can’t fail to deliver.

How do you follow that? With another swaggering riff straight from Sunset Strip of course! It’s a thin disguise though, You Have Come To The Right Place is about as perfect a piece of hard driving pop as you can get. I’m Sick starts out as more of a slow boiler, but soon picks up to continue in pretty much the same vein, but what the hell, I love a bit of radio friendly rock as much as the next man, like they say in the song: “I’m sick, gimme some more of it!. There’s a particularly awesome solo though, as the song gathers pace for the climax.

The middle section of the album takes on a more serious tone with a more measured pace, the Sixx:A.M. brand of self help delving into issues of making amends, finding hope out of the darkness and turning to God. Better Man possesses an undercurrent of melancholy to the atmospheric guitar lines and James Michael’s vocal is a little more understated, while ‘Prayers for the Damned’ and ‘When We Were Gods’ have a particularly epic feel to the uplift as they push the religious imagery, the latter mixing things up a little arrangement wise with an unexpected twist towards the end.

Sandwiched between is ‘Can’t Stop’ with its marching vibe, but there’s an air of filler to it, although it is sure to work better in the live arena. ‘Belly of the Beast’ pricked my ears up a little further though, it really showcases what Michael can do vocally when he leaves his comfort zone and it’s a cool switch up.

There’s more than a hint of Motley Crüe in the opening chords to ‘Everything Went To Hell’ but the comparison ends there and it turns into something of a vehicle showcasing Ashba’s playing. DJ has to be one of the most underrated guitarists in the game and his playing throughout this album is nothing short of stunning, the killer riffing and sublime soloing a constant, adding another dimension to otherwise ordinary tracks like ‘The Last Time (My Heart Will Hit The Ground).

Album closer ‘Rise of the Melancholy Empire’ rounds things off in predictably epic style, though the delicate piano and atmospheric guitar lines add a touch of class. It is a quality way to end Volume 1, with the second half of this double album project set to drop later in the year.

This is probably Sixx:A.M’s strongest record since ‘Heroin Diaries’, pretty much every track has a winning hook, the playing is first rate and the production superb. Ok, so they like a pop melody and know how to deliver a chorus, but it’s not like they have art rock aspirations and what they do is done in style. There is a massive market for this kind of music, so when a band are writing songs with a message and turning in such great performances, superstardom is pretty much a given, not bad for what started as a side project.

8/10

Check out more on Sixx:A.M. here:http://sixxammusic.com/
For some superb photography of the band and a whole load of other rock stars visit this amazing webpage: http://www.stephansdotter.com/gallery/people/