Mecca - 'Undeniable' (frontiers) 4.5/5

Back in 2002 the debut album from Mecca caused a bit of a stir in melodic rock and AOR circles, then since the band finished a lengthy road trip in 2005 the band have been strangely quiet, to the extent that some fans were on the verge of sending out search parties. However Mecca had not been abducted by aliens or been victims of an ill advised boat trip into the Bermuda Triangle. They had in fact been ensconced way in darkened rehearsal rooms and recording studios slaving away on new material. And now at last they have finally got around to issuing this their second album.

So was the wait worth it? Now I gotta admit I can be quite cynical when it comes to stadium rock and AOR. After all my taste for this sort of stuff was formed in the heady days when the likes of Toto, Boston, Journey, Foreigner, Saga and the likes were experiencing their finest hours, so the bar in my mind has been set very very high, and I tend to be a bit down on anything that doesn't match those exacting standards.

However against all expectations I am finding Undeniable a very enjoyable listen indeed, even if the over all sound is a little Mr. Mister, a band I never got on with back in the day. Vocalist Joe Vana has a sweet voice that reminds me of Totos Bobby Kimball in his heyday and his son Joey on the guitar is a fair talent that has hints of Boston main man Tom Scholtz  in his playing.

It think its the fact that this material has been six years in the making is the real pay off here. Even the power ballads, of which there are several on show come over as interesting listens. Just take the sublimely subtle picked riff on Deceptive Cadence or the crisp and crunchy backing on Did It For Love as a couple of examples, these are tracks that are well thought through, not by the numbers work outs thrown together.

In other places the intelligent interplay of instruments and the texture of the soundscapes on offer are pretty noteworthy. Numbers like From The Start, with its great twin lead section, the soaring title track and the riff heavy Closing Time with its quirky and restrained synth motif all hold the attention throughout. And all truly great AOR records should have a true rock out number, and this one is no exception, for we have W2W a number that kicks off with a riff that wouldn't sound out of place on a Kiss album and a seriously cool widdle and shred solo (no kidding!!), and blends them into a song that sounds like Boston at their best.

In short there is not a weak moment on offer here, and this is an album that I know will stand the test of time.

Very Highly Recommended

For fans of... Boston, Toto, Mr Mister, Journey, Saga etc...

Imperial Vengeance - 'The Twentyshilling and Fourpence V-disc' (transend) 4/5

For those of you who haven't yet experienced the weird and wonderful world of steam metal royalty Imperial Vengeance, here's a quick way in for you. 'The Twentyshilling and Fourpence V-disc' is basically the new single from their acclaimed current album 'Black Heart Of Empire' (reviewed here) and features the albums title track, its prologue Scenes Of Inked Treachery and a previously unreleased orchestrated instrumental number Upon The Stair (and in the Chamber).

As an insight to the album this new three tracker is pretty good. The main track shows all the quirky goodness that is IV's trademark sound, pacey yet controlled post thrash guitar riffage, husky and deep yet very listenable vocals, vast gothic backing soundcscapes, gin palace pianos and a voice over section from former East End gangster and 'tasty geezer' Dave Courteney. The prologue track features more Dave Courteney narration and the closer is a short but sweet bit of gas lit atmospherics that come over like the sound track to a classic hammer horror movie.

However IV are never a band to do things the ordinary way (after all the album comes with a penny dreadful novella) this ep also comes with a pretty impressive bunch of documents that delves a little into the whole Imperial Vengeance and Black Heart Of Empire mythos.

After considering releasing this ep on wax cylinder and shellac disc the band have decided to stick to the normal 'modern' methods of distribution such as digital downloads and compact disc, and thus have decided to charge the princely sum of Twenty Shillings and four pennies to purchase this most worthy of musical edification's. (that £1.00 to us modern types).

Now for a quid you can't go wrong, and I would recommend this to everyone, if they have the album or not.

For fans of... Cradle of Filth, Whitechapel, The More I See, Fornost Arnor.

The Magnificent - 'The Magnificent' (frontiers) 4/5

The Magnificent are a new project out of Scandinavia, formed around the core duo of  Michael Eriksen (Circus Maximus) and Torsti Spoof (Leverage) and this is their debut release.


Now anybody picking this one up expecting Leverage style power metal sensibilities or Circus Maximus style prog metalisms is in for a bit of a shock. This album is full on no holds barred stadium rocking melodic AOR in the style of Asia, Europe, Loverboy, House of Lords et al. and to be honest as far as melodic stadium rock stuff goes it is better than most.


Where this album scores over many of the other melodic stadium rockers is the simple fact The Magnificent has left the rock dial set at a higher level than the cheese dial. OK a lot of the tracks on offer are standard light middleweight radio friendly rockers, but they are still rockers. Even softer tracks like Loves On The Line which in the hands of many could have become fairly forgettable filler tracks of AOR blandness, we still have a cracking driven riff and a nice intense widdled guitar solo to maintain interest.


Then we have the quality of the songsmithing. Tracks like Bullets and Tired Of Dreaming come over with the same vibe as those first three classic Asia albums, even to the extent of invoking the spirit of the legendary John Wetton in both the lyrics on offer and the vocal delivery. (The later of the aforementioned pair even has a Steve Howe style solo). Hey, even the pair of power ballads on offer Angel and Smoke and Fire manages to avoid falling too far into the cheese trap thanks to some inspired arrangements, tasty riffage and solos to die for.


Other highlights include the anthemic Harvest Moon (not the Neil Young track), Satin & Lace with its Vow Wow inspired riffs and neat keys lead solo and the Loverboy-esque Lost.


Over all this album is quite impressive and one that should keep fans of Melodic rock very happy indeed.

For fans of... Asia, Loverboy, Europe, Drive She Said, House Of Lords.

Megadeth - 'Th1rt3en' (roadrunner) 4.5/5

What is there to say when introducing Megadeth that's not been said a thousand times already? From Dave Mustanes sacking from an embryonic Metallica, via various run ins with other acts such as Suicidal Tendencies and Pantera, a massive foot in mouth incident that lead to terrorist death threats, MTV bans, near career ending nerve damage, internal disputes and court cases, battles with drug and alcohol abuse right through to Mr Mustanes getting religion and being 'reborn' as one of the golden greats of metal; it is indeed the stuff of legends. So now we have reached studio album number thirteen from Dave and the boys, and the next chapter in the high history of Megadeth is being penned.

So is the story still worth reading? Well I will be honest and declare from the off that out of the 'big-four' Megadeth have always been the act that has held my attention. I never really got Anthrax, Slayer were ok, but never really rang my bell that much and personally I thought Metallica died along with Cliff Burton. But Megadeth were always an act that delivered the goods more or less, OK there have been a couple albums, such as Youthanasia, where I felt they weren't quite on form, but over all I've liked most of their output. And I am glad to say that in my opinion Th1rt3en keeps the side up and doesn't disappoint.

There are no real surprises on offer here, the band haven't suddenly decided to go SKA-core or Happy House, this album is thirteen prime cuts of pure old school 'deth that keeps the spirit of all those classic from the past well and truly alive and kicking. Slip the disc into the player and you get 20 seconds gratuitous trem abuse and another 30 seconds of some gloriously over the top solo guitar masturbation before the main track Sudden Death kicks in, all dagga-dagga riffs  with some typical Dave Mustane snarled vocal that is a joy on the ears. And that sets the stage for the rest of the album, which is pretty much more of the same.

If your familiar with Megadeth you know exactly what I mean, Megadeth are a band who have a tried and trusted formula and can still work well within that framework. Mr Mustane is still grinding axes against the system, still writing killer riffs and still shredding like a jilted mistress in the wardrobe of her ex-lover. All really good stuff.

If on the other hand you are unfamiliar with their trade mark sound and approach ..GO HANG YOUR HEAD IN SHAME YOUR A DISGRACE TO THE WORLD OF METAL FANDOM.

Of the tracks on offer there really isn't a weak moment on offer. My personal fave cuts are the dark and moody Millennium of The Blind, the groove fueled headbang of Deadly Nightshade, the gloriously angry sneer of Drugs, Guns And Money, the viciously satirical We The People.... in fact as I said before every tracks a winner here, not a single weak moment on show at all.

In short Megadeth are already a band of legend, and this latest album is another worthy chapter to the saga, and long may the tale continue. A must have if ever there was.

For fans of... Rock gods, metal mythology and the all time greats

Uneven Structure - 'Februus' (basick records) 3.5/5

It's strange, only a few weeks ago I was saying how I rarely get much French music through my inbox, since then I've had new albums from Glorior Belli, The Crooked Axis and now this one from Uneven Structures. Apparently they are from Metz  and have previously put out an ep prior to this their full length debut

Now I'll be honest and say this one has me stumped. I'm not sure if this one of the greatest things I've ever heard or the biggest musical car crash of all time. Style wise it is an eclectic blend, Meshuggah style death metal, Tangerine Dream or Goblin style ambient trip, King Crimson progressive complexity, Pink Floyd-u-like urgency, even hints of Sky's post classical stylings... its all in here, more often than not at the same time and the end result is certainly interesting if not compelling.

The upside is that Uneven Structures do have something verging on unique going on here, there are some very impressive musical soundscapes. Tracks like Exmersion, Buds and to be honest the whole damn album are well penned and produced and expertly performed. The tracks flow seamlessly together giving the whole work a full blown concept album feel that makes for a good entertaining listen.

The downside is that the whole work comes over a tad confused and a little messy on the ears and a bit lacking in dynamics. The death metal sections come over very tame indeed. After all death metal is supposed to bludgeon and kill, but on this one the deathisms are as menacing as a fluffy kitten with a water pistol. And the chilled out ambient moments strike you as being very restless, like trying to chill out in a bed that has been filled with toast crumbs. The end result is an album that promises much and should be a real roller coaster ride of sounds and emotions ends up less of a roller coaster and more of a local commuter train. Compare this album to Fornost Arnors recent 'Death Of A Rose' opus, and you soon see not only what this album could have been, but also how far short of the mark it falls.

Having said all that after a couple of play throughs it is growing on me slowly, and I'm sure after living with it for a few months I'll be really liking this one. Basically my jury is still out, but don't let that put you off giving it a go.

For fans of... Spires, Fornost Arnor, Fortune Favours The Brave,

Trillium - 'Alloy' (frontiers) 3/5

American vocalist Amanda Somerville is fairly well known in European metal circles, having contributed to albums by the likes of Epica, Kamelot and After Forever in recent years. Now she assembled her very own outfit under the name Trillium and issued this their debut album.


Now as a band Trillium promises lots. Amanda Somerville is a fantastic vocalist, she has an incredible range, and sounds natural with it. She can scream and wail like the best of them and yet shows such sweet control on the quieter sections. On top of that she has assemble a pretty good band around her, guitarist Sander Gommans must be singled out for special praise for his lead work in particular. Add in a great guest performance from Jorn 'Hardest Working Man In Metal' Lande and you have a band and an album that should rank up their along side the likes of Nightwish and Within Temptation as true leaders of the whole female fronted gothic rock / metal genre.


However there is a fundamental flaw with 'Alloy' that not only lets the whole thing down, but at times can be so frustrating that you tend to find the whole thing almost unlistenable. The problem is with the way the vocals are produced. As I said before Amanda Somerville has a wonderful voice, and in the quieter sections of the album such as tracks like Path of Least Resistance and Love Is An Illusion it sits in the mix perfectly. But when things start to get a bit heavier, (and there is a fair amount of metal on offer on this one), she steps up a gear or three, and all to often drowns out the rest of the band. This is most noticeable on tracks like Machine Gun, Purge and especially on Scream It, where the difference between the way Amandas vocals and the aforementioned Mr Landes vocals sit in the mix is very pronounced.


All this is a shame because this is a promising debut from a band that could achieve greatness, but is an issue that must be address if Trillium's potential is to be realised.


A flawed gem

For fans of... Nightwish, Within Temptation, Issa, Mystica etc....

The Amity Affliction - 'Youngbloods' (roadrunner) 3.5/5

Now this one isn't exactly a new release, this second album from Queensland post hardcore outfit The Amity Affliction has been out for over year in their native Australia, but has only just got a UK issue through Roadrunner.

Now to be honest I'm not finding this one overly mind blowing. Rather its a tad generic, most of the songs are pretty samey, they all follow pretty much the same tried and tested commercial post hardcore formula. Lots of nice sweet commercial stacked harmony lead vocals inter-played with the same old hardcore-u-like dirty snarls and growls. Add in the trademark mix of blast beats and slower mainstream metal sensibilities and you get a sound that has been done by a hundred bands before.

Don't get me wrong, TAA are good at what they do, and there are some cracking tunes on offer. H.M.A.S. Lookback for example is a fine slice of angry teen angst rock that stand up along side the very best this genre can offer, Olde English 800 has some first rate riffage on show and closer Fuck the Yankees is as good slice of angry youth rock as your likely to find anywhere. I'm not gonna moan about the musicianship on show either. That is first rate, ok I would like to have heard a little more lead guitar to break up the songs, which tend to be a bit vocal heavy,  but the riffage, the rhythms and the vocals are spot on.

But its all a little too predictable. There are so many outfits doing this sort of stuff that unless you have a trick or two up your sleeves your gonna get lost in the crowd, and that is what TAA are in danger of doing here. They may be huge in Australia (and more power to them for that), but if they are seeking to make a mark on the international scene they need to up their game a bit if they are to stand along side the The Devil Wears Pradas and the Funeral For A Friends of this world.

However, I don't think its game over for TAA, they obviously have the talent to go places and a little revision of their approach and a touch more creativeness could be the push they need to move on to bigger and better things. For after all they are still a young band and must be still viewed as a work in progress.

In short - this is ok but nothing special

for fans of.., The Devil Wears Prada, Funeral For A Friend, AFI, Alexisonfire, Midasuno....

Betty Swallaux - 'Demo 2011' (self released) 4.5/5

Llanelli outfit Betty Swallaux were formed earlier this year and are currently a studio project whilst they are seeking 'the right drummer'. This is their first release and is in effect a collection of various demo recording the band have assembled over the past few months.

Now this one is very interesting indeed. It's not often that I get to hear such a diverse blend of influences and inspirations. There are bits that sound like Venom type primordial death metal, other bits remind me a little of Ramstein style teutonic industrial rage rock. Then there are bits of Sore Throat style grindcore, snifters of RATM style groove metal, touches of Rolo Tomassi style prog-core; even hints of Gay For Johnny Depp style post hardcore... and its all rolled into one overall sound that is the closest to 'unique' I've come across for a long time.

OK the production is a tad rough as is to be expected, but nowhere does that detract from the pure quality of the music on offer. Gaz Wooloffs vocals are remarkable, he manages to sound like Ramsteins Till Lindenmann, Sore Throats Rich Walker and FFAF's Matthew Davies-Kreye all at once, switching styles often bar to bar. The guitars of the aforementioned Mr Wooloff and Peter Smith and the bass of Dai Price are so bleedin' heavy they create their own gravity field. And a special mention must be made about the drums on this demo. Lacking a stickman, the band created them beat by beat, track by track from the bass drum upwards, a long and laborious process, but one that works so well here. The result is something that falls halfway between the warmth of a real drummer and the clinical precision of a drum machine, and sounds perfect for Betty Swallaux's black-groove-industrial-progressive-hard-metal-grindcore stylings.

I really do love this stuff. Tracks like the dark and sinister Change, the industrial groove of Extremist and the progressive grindcore of Give In, just roll out of the speakers like a glorious sonic assassination that can kill from several hundred yards and put a smile on your face while they are doing it. I'm hard pushed here to select a favourate track, it changes with each play, but at the moment it's In My Veins, a cut that starts off all trippy and mellow, then goes all Venomesque blast and bludgeon before ending with a section that sounds like Tangerine Dream goes happy house (I kid you not!!)

This is cutting edge stuff, I've not heard its like before, I doubt if many people have, and I'm sure if the band started to hawk this demo around some of the more left-field and open minded progressive record labels, internet radio stations and magazines, things could start to happen for them. After all this could well be the future of music.

For fan of... Ramstein, Rolo Tomassi, Saints Of Eden, Sore Throat.... 

Hate Gauge - 'Hope, Envy, Love & Lies' (self released) 4.5/5

Hate Gauge hail from Pembrokeshire in West Wales, and when they list Stella Artois and kebabs amongst their influences I had a feeling they would be right up my street. They have put out a few eps in recent times and now they have issued this six track mini album.

The moment I started to play this album and heard the opener Metal Messiah and found to my delight it sounds like Tokyo Blade, Persian Risk and Tygers Of Pan Tang style NWOBHM with lyrics to match; "Hand in the air like a metal messiah; on a long cold road out of hell...", I knew I was onto a bit of winner; and its gets better as you go along. One More Lie has cool groove metal feel that hints at Pantera; In To Deep is a bit of an anthem with bit of a Maiden meets Anthrax thing going on. This Drug is a bit of an epic in the same vein as Metallica used to be before they sold out to the majors, Jealousy continues the classic Metallica vibe but this time incorporates a Mastodon style groove and closer Let Me Know is the real surprise, a mellow acoustic track that has a certain Black Stone Cherry feel to it.

To say I'm a little impressed with this one is an understatement. The production is spot on, it still maintains a little roughness around edges, and that is good. Ever since Metallica dropped a bollock with 'And Justice For All' there has been a trend amongst some metal acts to polish all the life and fire out their sound, but fortunately this is one trend Hate Gauge haven't picked up on. The sound here is crystal clear, but still raw and in your face like metal should be. And all praise to the performances, every member of this quartet delivers the goods in fine style, the playing is first rate, the vocals clear, melodic and powerful without ever needing to resort to pig grunts or power wails, and the song writing is top notch.

In short Hate Gauge have in Hope Envy Love and Lies delivered a cracking little gem of a mini album that should start to open doors for them. But don't take my word for it, its available through Amazon and the other usual outlets, go get a copy and see for yourself.

For fans of... Metallica, Pantera, Mastodon, Tygers Of Pan Tang, Elimination....

The Skuzzies - 'The Skuzzies' (easy action) 4.5/5

London punks The Skuzzies, have been around for a few years now. Formed in a Deptford squat and making their live debut in 2004 supporting the Babyshambles at their notorious 'Battle Of Astoria' gig they have over the past seven years been building a solid reputation for themselves with some seriously dedicated road work and their critically acclaimed 2008 release of the 'Dissatisfied ep'. Now we have at last a full length album.

Now this lot are often pigeon-holed along with the current wave of pop-punk outfits that are the latest big trend at the moment (The Subways, Kiria etc); and I think this is a little unfair, for as good as The Subways and their ilk are, The Skuzzies are no mere band of pop-punk wannabes.

This is obvious from the moment you stick the CD into the player and the opener Hungry As A Hound  stalks snarling from the speakers. Make no bones about it, the sound that hits you is pure punk in the style of The Ruts, The Pigs and The Starjets. It may have a commercial edge to it, but it is still an angry glue bag full of attitude that has a distinctively 1977 sneer and stagger about it. And whilst in other places the Skuzzies do explore other areas of sonic entertainment, there are tracks like More Than This, Dissatisfied, Shotgun Romance and Rich Girls studded through out the album to keep reminding you exactly what the bands core mission statement is.

Even when The Skuzzies are wandering a little away from the more noticeable old school punk influences they still maintain the attitude and and keep true to the punk ethos. Brompton Cocktail sounds a little bit Velvet Underground, The Unknown Principle with its dark semi spoken vocal and lyrics like 'If blood is bondage then what is love, turn around throw a bomb and smash it down' hints at work of CRASS, Are You Sleeping has the spectre of The Boomtown Rats and The Clash about it; whilst album closer On the Corner (with a guest appearance from ex-Babyshambles main man Pete Doherty) is a great SKA influenced rock out that still maintains the spirit of 77 in its Special Brew fueled anarchic backbeat.

All this makes for a great album, one of the best punk albums of the last few years In my opinion and one that will do The Skuzzies or their steadily growing solid rep as being one of the most talented bands in the UK at the moment no harm at all. Very Highly Recommended.

For Fans Of... The Clash, The Subways, Kiria, CRASS, The Adverts, Bambi killers The Pigs etc...

Censored - 'Sunrise On The Checkered Horizon' (self released) 4/5

Now this is another interesting result of a bit of random net surfing. Censored, were a ska-core outfit out of Texas who formed around the turn of the millennium, and were only about for five or six years before splitting up. In that time they gigged a fair bit around their local area recorded a few demo eps and started demoing tracks for a full length album that never reached the recording phase. However now a couple of the bands former members have collected together the lost recordings and put out this collection in salute to the band and the album that never was.

Now although the recording and the production on this is a little ragged around the edges, these are demo recordings after all, I've gotta say the music on offer here is pretty damn good. It draws on influences from the classic two tone sounds of the likes of early Madness, the Specials and Selector, adds in a lot of King Prawn, Mighty Mighty Bosstones style modern punk SKA fusion and then sprinkles the whole lot with a good dose of crusty hardcore attitude.

All the tracks on offer are short and snappy, the longest being a shade over two and a half minutes, yet each one is a little gem, packed with high energy skanky guitars, viciously angry 'fuck the system' lyrics and some top rate danceable rhythms. The result is a snapshot of the great band Censored could well have been. Tracks like the glorious anti-military frenzy of Go Army, the slightly twisted Baby Killing Fiesta and the dub fueled Ghetto Boombox are all little gems that had they been properly recorded and released could well have become SKA-core classics. There is not a weak moment on offer and I defy all lovers of SKA, punk and hardcore not to find this album highly listenable.

However unless Censored decide to do the old reformation bit, tracks like these are set only to become lost gems, so I recommend all lovers of this kind of stuff to download this album (it is free after all) and keep this music alive before it is lost for ever.

A lost gem if ever there was.

For fans of... King Prawn, Madness, Dutty Luck, Operation Ivy, The Mighty Mighty Bosstones....

Download this album for free from - http://censored.bandcamp.com/album/sunrise-on-the-checkered-horizon

 Note - since penning the above I have received this message...
" Thanks for the kind words Jon! While the band is long gone, my love for ska and reggae remains. I'm glad that some fans of the genre can still find enjoyment in these recordings. The recording process is a storied one, for sure. We tried to track it three or four separate times. It seems each was interrupted by some new catastrophe; members in jail, stolen gear and more culminating in one of the recording studios getting burglarized along with our nearly-completed masters. This version of the album was created by making a rough master of some 30 minute mixes given to us leaving one of the earlier studio sessions to check out in the car. I left in all the talking before and after tracks, because why not?

If you get the chance and want to hear what I'm up to now, check out my current band Automorrow. Our new album is certainly more rock-oriented but you'll still find many traces of my love for ska and reggae within.
http://automorrow.bandcamp.com/album/no-rest

Cheers!

Michael DuFault"

Impaled Existence - These Lifeless Plains (self released) 4/5

There has been a lot of great rock and metal out of Wales in recent years, but most of it has come from the south and west. But now here to remind us that there is still metal north of Merthyr Tydfil come Impaled Existence who hail from the seaside resort of Rhyl on the north coast. (a town better known in musical circles as the home of The Alarm). This lot have been around since 2004 and have issued a string of eps of which this five tracker is the latest.

Now I've been listening to this one for a few days now, and I gotta say I've found myself growing rather fond of their distinctive brand of progressive death thrash. First up we have at obligatory introductory instrumental, (and I gotta say as far as intro tracks go, its far better than most), then the ep itself kicks in with Fictions Within The Mind a dark and doomy number that kicks off sounding not unlike Cathedral before moving on into Whitechapel territory. Next up is my fave cut on this one If Error Were True which kicks off with a wonderfully quirky 'call and response' section between some blindingly heavy guitars and the lightest of cymbal fills which then resolves into a track that reminds me a little of Imperial Vengeance stripped of the steam punk trappings. Then we have Through Stinging Eyes which starts out with a dabbling in some moments of sublimely dark doom before ripping into some great old school death thrash riffage. Finally we wind up with Worthy Of Remains a traditional death metal work out that reminds me of Behemoth at their best.

All tracks are superbly produced and played with a huge amount of skill and huge amount of raw fire and righteous passion. The music is intelligent, well penned and I just know the band are gonna win a lot of friends with this one.

I had heard of Impaled Existence by reputation a fair while before I had heard the music for myself, and I can now see what the hot gossip was all about. This ep will do their already impressive reputation no harm at all, and whilst they are at the moment unsigned I can't see them remaining that way for long. Well worth a listen.

For fans of... Whitechapel, Suicide Silence, Cindersfall, Spires, Fornost Arnor....

Noctem - 'Oblivion' (metalblade) 4.5/5

Black death thrashers Noctem hail from Valencia in Spain. Now in their 10th year they have in the past issued a couple of EPs, a self released live album and a previous studio opus on Austrian label Noisehead, before switching to Metalblade earlier this year and bringing us this rather tasty little nugget.

Now I gotta say that this album is one of the most interesting black / death / thrash / whatever (I'm not good at sub genres) albums I've had through in recent months. I had albums that are more extreme, I've had albums that have been heavier and more intense, but when it comes to the all around package this is the dogs bollocks.

There are 11 tracks on offer, each one as heavy as a chieftain tank, as metal as the Forth Bridge and as intense as playing chicken with a speeding freight train in a narrow tunnel. But what marks this album out above the crowd is the quality of the song writing and the way the tracks are structured.  Yes there is shed loads of pound, thrash and bludgeon of offer; but within the raw brutality there are shades of light and dark; tempo, riff and key changes that although often subtle, still serves to keep you interested and actively listening.

Style wise we are talking touches of early Slayer, hints of acts such as The English Dogs, Behemoth, Bathory and Rose Funeral; but there also bits, often short snatches that hat tip acts such as Megadeth, Armored Saint, even Iron Maiden style NWOBHM!!. Then we come to the playing, musically this album is flawless. The whole band is a tight as David Coverdales bell bottoms and certainly know how to lay down a wall of sonic battery. Special praise though must be given to the two guitarists, Exo and Helion, who show a great ablity to not only shred like a Frankenstein office paper disposal unit on the rampage, but also mange to lay down some superb melodic lead lines, sweet harmony sections and infectious lead licks, but also swap riffs like the good uns they are.

Special highlights of this impressive album include the strangely titled A Borning Winged Serpent with its wonderful guitar interplay and harmony lead sections, the brain meltingly brutal Seeking The Ruin Of Souls and the gloriously menacing Unredemption - track whose final riffing section is to die for. But in truth this album is one glorious highlight of the pure talent that is Noctem.

Bottom line is this is a great album and one I will not hesitate to recommend to metal fans everywhere.

For fans of... Glorior Belli, Behemoth, Novel of Sin, Slayer, Mercyful Fate.

I Divide - 'Whats Worth More?' (self released) 4/5

I Divide are from Exeter in the UK and apart from that I know very little about them. But I do know one thing since this album dropped through my inbox the other day, they have found in me an another admirer.

What's Worth More? is a great little album, there are seven songs on offer, plus a short intro and a short interlude at half time, and all six cuts are pretty good slices of contemporary commercial hard rock that seam to be batting from the same wicket as the likes of Kids In Glass Houses, Lost Prophets, Tiger Please, Funeral For A Friend etc, and as I have over the past few years developed a bit of liking for all the aforementioned acts I am finding myself beginning to get into this one.

This album is tight and well played, its as commercial as hell, but nowhere does it sound generic. Vocalist Tom Kavanagh has raw sounding, but far from unpleasing voice and a highly energetic delivery, the rest of the band also seam to be very competent musicians as well. There are lots of dynamics on show here, lots of light and shade, which shows that I Divide have learned the most important lesson in music, that the spaces between the notes are just as important as the notes themselves.  There is nothing to find fault with in the song writing either, all the tracks have some intelligently put together lyrics and some nice structuring. The album closer Whats Worth More? is especially worthy of praise with its thoughtful acoustic guitar and piano breakdown in the middle and slow but relentless build up to a glorious anti-climactic conclusion.

Other highlights include This Ship's Going Down, with it's big riffs and powerful tempo changes, Burning Out with its guitar motif that sounds a little like a classic Mike Oldfield moment and Deja Vu with its massive hooky chorus and mob chorus backing vocals.

OK I do have one small issue here. I'm not a fan of the over all guitar sound. Don't get me wrong, its well played, but on the whole the guitars are just one huge wall of fuzz that makes it hard to really pick out the often killer riffs and at times swamp the rest of the band. But this is not the fault of I Divide as such. I have the same issue with the production on a lot of todays more commercial bands. Ho hum, its a style that seams to go down well with the youth though; I suppose its only a minor gripe and one I can live with.

Over all I Divide have got a good thing going on here and I'm sure that given a few breaks they could well develop into major players on the UK rock scene. Well worth checking out.

For fans of... You and Me At Six, Kids In Glass Houses, Tiger Please, Funeral For A Friend

Motortrain - 'Straight Six' (slambang) 4/5

Now I've always had a lot of time for the good old southern boogie stuff, I taught myself to play guitar by jamming along to the likes of Skynyrd, Grinderswitch and Molly Hatchet and I still rate Blackfoot as one of the best live bands I've ever seen on stage. Frustratingly we don't get much of it over this side of the pond and on the whole it remains a nearly completely a genre confined to the USA. Still sometimes a little of it will wind its way across the pond and wind up at BCFM central. and now ladies and gentlemen I bring you the debut mini album by Oklahoma quartet Motortrain.

I gotta say that on first impressions this is an infectious little album. It's sound is rooted firmly in southern and country rock, but its more in the rawer rock and roll vein of the likes of The Four Horsemen, Jason and the Scorchers, Georgia Satellites than the more traditional Skynyrd / Hatchet style of swamp boogie, and there is nothing wrong with that at all. There are six tracks on offer, each one a fine slice of prime good 'ole pick up driving blues fueled sleazy good time bop music, that makes you wanna crack a six pack and get down for a good boogie with yer mates at the local bar.

The opener Motortrain has a certain Blackfoot vibe to its bar room strut sound - including a Ricky Medlock style lead motif. Then we have Backyard Brawler that has a bit of a Georgia Sats air to it; Bombs Away and  Bad Girls are a bit heavier and move into AC/DC territory; Shes Hot is a great heavy sleazy along number that gives over a Black Oak Arkansas feel; whilst closer Goin, Goin, Gone is a high octane stomp that wouldn't sound out of place on a Rose tattoo record.


All in all this is a very enjoyable record. it's not very original or innovative, but what the hell, there are times when you don't wanna do anything but find some great no frills rock and boogie and just let your hair down, and this album is perfect for doing just that to. It is a good rock and roll album, it does exactly what it says on the tin, no more, no less; and in a time when so much of today rock music is full of pretentious aspirations, this one comes in like a breath of fresh air.

This one may take a bit of tracking down, but I advise you to find it and give it a go, you'll not regret it.

For Fans of... Black Stone Cherry, Georgia Satellites, Jason & The Scorchers, AC/DC, Rose Tattoo....

Todd Dillingham - 'Songcycle2011' (discofair) 5/5

Now for those of you who have not encountered the genius that is Todd Dillingham before, here's a brief history lesson for you. Todd was born into and became part of of the classic 'Canterbury Sound' movement of British psychedelia in the late 60's and early 70's. and hanging out with the likes of Camel, Caravan, Soft Machine, Gong etc it was bound to rub off. It was in a little known cult outfit called Bevis Frond that he started to cut his music teeth, then when Bevis Frond lost bassist Adrian Shaw to Hawkwind and went their seperate ways, he carried on with a number of short lived projects; but it was with the birth of the home recording boom in the late 1980's when Todd came into his own. First up there was an eponymous cassette album which won him many plaudits and rave reviews and then the flood gates opened. To date there have been over 30 Todd Dillingham albums, many featuring such luminaries of the British psyche scene as Richard Sinclair (Caravan), Adrian Shaw (Hawkwind), Andy Ward (Camel), Jimmy Hastings (Soft Machine) and Mike Wedgeward (Curved Air). Now based in Florida in the US of A Todd is continuing to bring out new material, and now we have his latest opus 'Songcycle 2011'.

Now this one starts fairly typically for a Todd album, with On the Way Home, a fine cut of chilled out acoustically lead acid psychedelia that has all the classic Todd hallmark influences in it, The Beatles, The Monkees, Caravan etc... but then things get really interesting. For second track up we hit the main body of the album the thirty two minutes long suite that is Songcycle 2011.

Basically Songcycle 2011 is a wander though Todds back catalogue, but this is no greatest hits retrospective, or best of revisited. Far from it, working with highly rated Dutch producer and musician Wim Oudijk Mr Dillingham has re-recorded and some times remixed some of his most memorable numbers including, The Chosen Few, Burning Deck and Indiana Home, blended in contributions from the likes of New York singer songwriter Debstar, cult banjo picker Pete McCabe, uke wizard Peter McPartland (The Big I Am), ex Hawkind bassist Adrian Shaw and others; and created a vast psychedelic oratorio that is breath taking in scope, and simply stunning in its realisation. Wim Oudijks orchestration is subtly done adds the perfect background and linking sections for Todds songs and the whole piece hangs together as if it was penned as a single piece of music.

As I said before all the Todd hallmarks are present and correct, we get sad plaintiff moments, some glorious acid fueled freakout moments, dashes of English folk and Americana,  some classical progressive bits, even touches of rock and roll and lots and lots of good old Canterbury influenced psychedelic trip moments. Hell, works like this are at the very cutting edge of music in general, and I'm sure that this would go down a storm if performed at the Royal Albert Hall as part of next years proms season.

Add in the orchestral hidden bonus track from Wim Oudijk, which draws on Todds melodic themes and ideas and you have an album that is not only a real treat for the ears, but one of the most unique and innovative records that I have heard in long time.

Whether your familiar with Todd Dillinghams music already, or just 'Todd Curious', I can recommend this record as one that you will, buy love and treasure forever.

(But hurry, this album is limited to just 300 CD copies and a limited download period, and its selling fast, so get your copy now before its too late)

For Fans of... Caravan, The Beatles, The Pillbugs, Dog Age, This Crooked Axis etc...

To purchase this album follow this link... http://www.discofair.nl/discofair/New_Releases.html

Peanut Butter Lovesicle - 'Heavy Daze Wildcat Craze' (self released) 4/5

Now this is a strange one. I will admit that I had never heard of New York / New Jersey power trio Peanut Butter Lovesicle until this five tracker arrived unsolicited at the BCFM studios last week.I picked it up and thought I would give it a listen and I'm glad that I did.

Basically on first listen this is a good solid stoner / blues ep in the same vein as the likes of Mos Generator and Stone Axe. All five cuts are slow and ponderous, riff heavy slices of fairly sparse retro rock with some spaced out psychedelic overtones. Lots of delicious wah wah guitar work, Groundhogsy rhythms and Stone Ground style song structures. But once you've given it a good play or two you begin to find there is more to this ep than first meets the ear.

You begin to notice other influences and constructs floating around the mix; little hints of modern alternative rock, pinches of indie shoegaze, a dash of grunge or two: nothing you can really put your finger on and pin down, but its there all the same. The opener Colorblind has a distant voice over section that wouldn't sound out of place on a Gorillas track Sicamore Trees has a Tom Waits style vocal and Commodore has a touch of the Lou Reeds to it. In fact the more you listen then more hidden depths you find.

All of which makes for a very interesting listen and shows that PBL are an outfit with an awful lot to offer and an interesting future ahead of them. Worth looking out for.

For Fans Of... Mos Generator, Lou Reed, The Groundhogs, Stone Axe....

Elimination - 'The Blood Of The Titans' (transend) 5/5

Unless you've had your head in a bucket for the past year or two, you can't help but notice there is a bit of a metal revival going on in the UK at the moment. Already this year we have had classic albums from Revoker and Anterior and now just to show that there is strength and depth to UK metal we have this absolute gem from Ipswich post thrashers Elimination.

This lot have been around for a few years now and have already been working their metallic danglies off with a couple of self released eps, a debut album for the tiny Rising label and a hell of a lot of road work opening for the likes of Evile, Gamma Bomb and loads more. Now they have stepped up a league or two, signed to Transend Music and issued their second full length opus 'The Blood of The Titans'.

Now on first impressions I got say this album is an absolute belter. Eight (nine if you include the obligatory mellow orchestrated intro tune)  tracks of pure driving old school headbangable metal that sums up all that is good about the UK metal scene at the moment.

As soon as the aforementioned intro fades out you are assaulted by a glorious wall of raw sonic steel by the name of Echoes Of an Unclear Past, a cut that has all the power and class of the late lamented Toranaga. Vocalist Neil Stevens grows and snarls like a good un, guitars thrash and pound and the rhythm section bangs away like a redneck gun nut who has a got a new assault rifle for Christmas, then suddenly out of nowhere we hit a sublime mellow acoustic section which provides a moment of calm tranquility before the brutality returns via a superb build up that wouldn't be out of place on an Iron Maiden album. And remember all this is just on the first track.

From that point on it just gets even better. Function Of The Human Condition has a touch of Onslaughts classic album 'The Force' about it and features some fantastic controlled shred lead work. My Own Enemy is a cracking riff heavy workout, Eyes of Madness with its dark and grinding riffage is as heavy as a big heavy thing in a high gravity field, Death Takes Us All has a snifter of Grim Reaper style NWOBHM in the sound and album closer Claustrophobia comes over like Painkiller era Judas Priest on a Slayer trip.

To say I am enjoying this album a lot is a vast understatement, Elimination have in essence taken all the very best bits of heavy metal I have grown to love over the past 30 years and blended it into one glorious sound that manages to be both timeless and bang up to date at the same time; managing to avoid all the pitfalls of cliche on the way. No mean feat indeed.

In conclusion I've gotta say this album represents all that is good about the UK metal scene of the past 30 years or so and not only will it satisfy metal heads of past generations it will enlighten the young of today into all that the UK metal scene has to offer. Buy Or Die!!

For fans of... Onslaught, Revoker, Anterior, Slayer, Judas Priest, Marshall Law, etc....

Rita Lynch - 'Crack On' (Fruit and Flowers) 5/5

Terms like Legend and Icon are all to often employed these days, and rarely are the acts these terms are ascribed to are worthy of them. However when your faced with a musician and a talent as mercurial as Rita Lynch you find that these are the only words that really fit and do the artist justice. Rita has been at the very heart of the Bristol music scene for over 20 years now, and over the years has built an international reputation as being a truly noteworthy artist who is cited as a huge influence by many of todays better know acts. A couple of years ago she was recruited by the equally legendary Bristol art rockers The Blue Aeroplanes as a rhythm guitarist, but she still finds time to follow her solo career, and now we have 'Crack On' her ninth solo album.

Now this album is typical Rita, aided by fellow Blue Aeroplane John Langley on drums and other assorted instruments, 'Crack On' takes on where her previous release, 2010's 'What am I?' leaves off. There are 18 cuts on offer here, all fine slices of angst fueled angry venom spitting post punk attitude. The structures are simple, mainly a simple riff that just builds slowly with equally minimalist instrumentation that allows Rita's plaintiff yet purposeful vocals and deep deep lyrics carry the song straight to the soul of the listener. We have angry politically fired tracks like On The Dole and What I Don't Want which is delivered with a fire not even Billy Bragg himself can muster and some deeply insightful social comment cuts like the venomous Counter Cultured, the almost Bowie-esque 9 Years (Hardcore) and the glorious pogo work out of Yeah Yeah Yeah Yeah Yeah, which shows Rita as social observer who has depth few other artist can match.

However it when she is observing the state of the human condition that Rita really comes into her own. Tracks like Get It On, Talk To Me, Who Loves You The Most? and Some Kind Of Love are superb looks at love, hate, romance, loss and more that are all delivered with real heart felt emotion, sometimes with anger, sometimes with sorrow and regret, but always with the kind of real conviction that so few other artists can match.

Couple Rita's songsmithery and delivery with Mr Langley's almost tribal drumming and you have got a sound that is almost unique in modern music, and completely unknown in the singer songwriter field. Which brings me back to the legend thing. Rita herself is a modest person who dislikes the word being applied to her. 'Legends are dead' she said in a recent interview, but there are such things as living legends and as long as she is releasing albums of this exceptional quality she is continuing to build a legacy that will do herself and the city she represents proud.

An amazing album.

For fans of... P.J.Harvey, Billy Bragg, The Banshees, Patti Smith, The Blue Aeroplanes

Fergie Frederiksen - 'Happiness Is The Road' (frontiers records) 5/5

2010 was a tough year for former Angel / Toto vocalist Dennis 'Fergie' Frederiksen. in the June he was diagnosed with inoperable liver cancer, only given a slim chance of survival and facing a period of painful and exhausting treatment. So in order to give himself something positive to work on he set out to record 'Happiness is The Road' an album that could well have been his final work. Now just over a year on Mr Frederiksen is experiencing better times. The cancer is in long term remission and the product of those dark days is at last released.

Now its a bit of cliche to say that often a persons darkest hour is their finest, but it is one that so often holds true. 'Happiness Is the Road' is a truly remarkable album, musically its typical US stadium rock, but I'm convinced that it is one that will be hailed along side the likes of Toto 4, Journey's 'Escape' and Styx's 'Paradise Theater' as one of the true great albums of that genre.

It's not just that this album is superbly played and produced, but that Mr Frederiksen is giving one of the most powerful and emotional performances I have ever heard. From beginning to end this record is a real spine tingler, it takes the listener on the real roller-coaster ride of feelings this guy must have been going through as he wrote and recorded it. Tracks like The Future Ain't What It Used To Be and Elaine with their lyrics of an uncertain future and lost opportunities, are delivered with a heart felt passion that brings a lump to the throat of even this most skeptical of power ballad hating rockers. Then others such as the title track, The Saviour, Angel (Mirror To Your Soul) and First To Cry are real life affirming no regrets uplifting numbers that still dampen the eyes, but this time with tears of joy. Whats more at no point does this album ever get morbid or depressing, but retains a positive vibe through out. It is indeed refreshing that in a world where emotion in rock is all to often over played and false, we have at last an album that speaks from the heart to the heart without ever having to fake it.

Add in the fact that musically this album is dripping AOR sensibilities that hat tips the likes of Toto, Journey, Foreigner, etc without ever becoming derivative or cliche and you have a work that is something very very special indeed and an album that is all set to become an all time classic.

for fans of.... Toto, Angel, Styx, Loverboy, Journey, House of Lords, etc...

Porco Dio - 'Pig Your King' (self released) 3/5

Porco Dio are from Finland, they are a five piece crusty hardcore punk outfit and besides that I know naff all about them.

Now this ep (which in the two weeks since I downloaded it has been renamed 'eka demo') is as rough as fuck, the production, and I use the term very loosely, is lousy. This record sounds like it was done on a cassette recorder in the corner of a practice room, every song starts with a four count on a hi-hat (sometimes with a bit of guitar feedback for added noise), which then launches into a wall of chaotic noise in which individual instruments and voices are swallowed into the maw of sonic bludgeon.

Now, in any other genre I wouldn't even give this stuff house room, let alone write a review. But this is punk, and I always say that in punk, true punk, not yer Green182 style punk, attitude and attack is everything, all else, including production and musicianship is secondary. After all the true ethos of the genre is if you wanna make music and have something to say, then you go head and say it.

And that is exactly what Porco Dio are doing. So what if the result is messy, in the mess theses guys attitude and power comes shining through. There are five tracks on offer, all, with one exception, well under the 90 second mark and all packed with raw crusty hardcore aggression that really is most infectious. As I've said before, I do have a soft spot for this kind of DIY punk and whilst I doubt that Porco Dio will ever reach anything beyond being cult draws on the local Finnish punk scene, anyone who likes it as raw as possible and with less than zero frills, will do well to give this a quick listen, after all its a free ep after all.

Very entertaining.

For fans of... The Swine, The Oppressed, Red XIII etc....

This ep can be downloaded from here... http://porcodiohc.bandcamp.com/album/eka-demo

Hammers Of Misfortune - '17th Street' (metalblade) 3.5/5

No, not a reflection on the current form of West Ham United, Hammers of Misfortune are a Californian prog metal outfit and this is their fifth studio release.

Now I gotta say I'm finding this one interesting rather than mind blowing. The metal side here is very restrained, coming over a bit like some of those lighter weight NWOBHM outfits such as Limelight, Stampede and Jaguar; that's not to say that its a bad thing, after all I am a huge fan of the NWOBHM (after all I was there!!), but in the context of a wanna be classic progressive metal album it does come over a little on the restrained side and doesn't really give the huge impact this type of music demands. The progressive side is also a little short of the mark, whilst there are some nice snatches of folky moments and some rather cool keyboard lead sections, the keys themselves are all to often lost in the mix and loose impact.

All this is a shame, because there is a lot of good stuff going on here, the song writing is first rate with some fairly deep and insightful lyrics on offer. The musicianship is also top draw; vocalist Joe Hutton has a cracking voice, powerful, deep and menacing without resorting to the old cliched pig grunts and power wails, the guitars of Leila Abdul Rauf and John Cobbett are slick, smooth and slice through the sound like expertly wielded katanas. Add in a tight and driven rhythm section and some impressive keyboards (when you can hear them) and you have in HoM a band that could be be great. In fact after a few play throughs I'm beginning to put the lack of 'ummph' down to indifferent production, rather than the band themselves.

To select a few of the gems on offer, we have Summer Tears - a track that reminds me of some of Crash Street Kids more sleazy moments, the epic closer Going Somewhere with its grinding riffage inter-cut with some lovely jiggy proggy moments that are pure Thin Lizzy, and what is in my mind the best cut on offer The Day The City Died, a corking little track that reminds me a little of the great Magnum.

However it all comes back to the production, this album could do with a good remix to make the metal bits a tad more brutal, and the proggy bits a bit more epic, then we would have an album worthy of the band HoM undoubtedly are, cos as it is this record remains a good, but flawed gem.

for fans of... Magnum, Awake, Stampede, Y&T etc....

Fall Short For Glory - 'The Daytime EP' (self released) 4/5

This is the second ep from Bucks pop-punkers Fall Short For Glory in under a year, and I gotta say against all expectations I'm enjoying this three tracker very muchly.

Coming firmly from the Green Day, Blink 182, Arctic Monkey's stable FSFG have cooked up a very infectious and damn listenable little release. We start off with Is It Real Yet? a corkingly catchy ditty with a quirkly riff that brings to mind the early work of sadly missed Bristol outfit Clockwork Sniper. Stray Away is a bit more straight forward, sounding a bit like The Subways or The Skuzzies. It has a great sing-a-long-and-punch-the-air chorus and a cool minimalist guitar solo that wouldn't sound out of place on a track by London pop punkers The Red Zoids. The closer Never Look Back is perhaps the weakest of the three, but even this blows the balls off some of the pop-rock and pop-punk stuff that has passed through my inbox in recent weeks.

Over all FSFG have done themselves proud here, they show an aptitude to good song writing, and know how to construct a well catchy tune. I'm sure that given a year or two to develop their craft, and get out on the road to hone their skills and pick up the following that is sure to come, they will develop into a band the UK will start to take notice of. Highly Recommended.

For fans of... The Arctic Monkeys, Green Day, The Subways, The Red Zoids.....

Bobby Kimball / Jimi Jamison - 'Kimball / Jamison' (frontiers records) 3.5/5

Now when I got this one through my inbox I'll admit I was licking my lips, I've always had a lot of time for Toto and back in the 80's I had a bit of liking for Survivor as well, so when I found that Toto's Bobby Kimball and Jimi Jamison (former Survivor frontman) had teamed up for a one off album I got a bit fired up.

However now I'm living with the album I'm finding the experience a bit of a double edged sword. I have no issue with the vocalist here at all, both Mr Kimball and Mr Jamison show on this album why they became the stand out voices for an entire decade of US stadium rock. Neither can I find anything to complain about regarding their backing musicians. It's just this album is like that little girl with the curl in the middle of her forehead. When it's good it is outstanding, tracks like Worth Fighting For, Chasing Euphoria, Get Back in The Game and Hearts Beat Again you get everything that was good about 80's stadium rock; great uplifting choruses you can't help but yell along to, huge riffs, sweet guitar work and massive walls of keyboards to fill the spaces in between. Yet in other places this album gives you the very worst that this genre can cook up, by-the-numbers power ballads that are pure processed cheese, soft rock tracks that sound like montage tunes for straight to video TV movies and sickly sweet close harmony vocals that are stacked so high they are a danger to low flying aircraft.

However, now I think about it, I can say the same about an awful lot of 80's stadium rock albums, including a lot of the out put of both Toto and Survivor, so I really shouldn't be that surprised. So basically this is a typical classic 80's style American AOR record, it is superb in places and cheese in others, you pays yer money, you takes your pick. Overall this record does have more to recommend it than not, so if you hanker for a nostalgic slice of music from a time when the hair was as big as the lapels on the lounge suits then you can do no better than giving this one a spin.

for fans of... Toto, Survivor, Journey, Foreigner, Loverboy etc

Machine Head - 'Unto The Locust' (roadrunner) 4.5/5

Oakland post thrashers Machine Head are not a band who hurry when it comes to releasing new material, its been four years since their previous outing, with most of the time since been taken up with a very heavy live schedule. But at last we have new materiel in the form of 'Unto The Locust' the bands seventh studio release.

So has the wait been worth it? Well on first play through I think I can say that it has. There are only seven songs on off here, but one exception they all weigh in at around or over the six thirty mark giving a total album play time of around fifty minutes, and  not one of those minutes is wasted. Every second is used to showcase what a versatile outfit Machine Head really are. We get some fine slices of old school thrash, tasty chunks of meaty death metal, some very interesting almost progressive moments, even snatches of classically influenced guitar work and folk rock interludes.

From the opening bars of I Am Hell (Sonata In C#) with its neo-classical motifs,  to the closing climax of Who We Are with its children's choir and huge stadium metal chorus that resolves into a distant and plaintiff string quartet, there isn't really a weak moment on show; but if I have to pick a fave track on offer then it has to be Pearls Before Swine with its old school thrash riffage and razor cut guitar solos.

Overall I'm very impressed with 'Unto The Locust', I wouldn't go as far as saying its the best album of the year, but its up there with them. Very Highly Recommended.

For fans of... Megadeth, Slayer, Metal Church, Charred Walls Of the Damned, Spires....

Black Veil Brides - 'Set The World On Fire' (lava - universal) 4.5/5

Ok, I've been putting reviewing this on off long enough, time to bite the bullet. Now I know hollywood glam revaivalists BlackVeil Brides are a bit of a marmite act. Everyone I know either praises them as the future of rock and roll, or dismisses them out of hand as 'teenie bopping Kiss clones'  and very rarely I do meet anyone with a take it leave it stand point. As for me I've been living with BVB for a while now (the girlfriend is a HUGE fan, to the point of having Andy Biersack posters up around the flat)  and I  have been trying to keep an open mind and judge the band and their music for what it really is, rather be be swayed by the opinions and preconceptions of others.

Now, as you can guess I've got to know this record pretty well over recent days and weeks, and surprisingly I'm still not sick of it. My first impression was that it was a musically very good record, and I still feel that way. The band are tight, more than competent on the playing side of things, they have a fine line in writing very catchy but reasonably intelligent hard rock tracks, and to me far importantly they are not afraid to wear a few influences on their nylon net shirt sleeves. Opener New Religion has a waft of Dokken about it with Jake Pitts even provides some George Lynch style little widdles to punctuate the song. On God Bless You we get some classic Ratt style hair metal riffage coupled with a nice commercial hooky chorus that manages to keep itself firmly on the right side of pop rock cheese.  Rebel Love Song is a fantastic glam metal rock out that reminds me bit of Welsh glam kings Tigertailz; even the unavoidable power ballad Saviour, manages to keep itself listenable with a Scorpions style build up and some primal scream vocals at the climax.Other noticeable influences include AFI, Kiss (natch) and even some old school Saxon style metal.

OK before you say, "so what they have ripped all their fave elements and made a sound out of it" I will tell you that all bands do this, show me a musician who will not honestly state who and what has influenced him and point where he has used that influence and I'll show you a man who speaketh with forked tongue. The bottom line is that although you can see clearly where BVB are coming from the final whole is still packed in one all encompassing sound and style that is unquestionably  the Black Veil Brides.

As for the band image, which I think provides a stumbling block for just as many people it attracts, all I can say is so what? Whether the idea to follow the glam goth road came from the band, their record company, or a combination of both I care not. It's nothing new. Every musical generation has those who decide to experiment with make up, face paint and / or teen baiting androgyny... from Screaming Lord Sutch, Bowie, Kiss and Alex Harvey, via Twisted Sister, Poison and Mercyful Fate to Marylin Mansun, Slipknot and beyond. Evey generation needs musical heroes to act as a mummy shocker, and for the modern teenies BVB are it. It only should become an issue when it becomes a case of style over substance, and that is definately not the case here. So they are all good looking lads who girls scream and throw themselves at? whats the problem? jealousy? cos isn't it a position we all have dreamed about being in at somepoint?

In short, this is a great record, look beyond the image and get into the music on offer, cos this is an album to take note of.

for fans of... Kids In Glass Houses, Avenged Sevenfold, 30 Seconds To Mars, Ratt, Dokken, Motley Crue etc...

Mos Generator 'Mos Generator - 10th Anniversary Deluxe Edition' (Ripple Music) 4/5

Now it can't have escaped many peoples notice that there is a big retro rock scene going on in the US underground at the moment. Acts like Crash Street Kids, Stone Axe, Stone Mask, Antique Scream, The Muggs and many others are looking back to the classic primordial heavy rock sounds of the late 60's and early 70's and reworking the vibe for a new millennium. One of the founding fathers of this movement are Seattle outfit Mos Generator. Formed out of the ashes of the 90's Seattle grunge scene in the year 2000, this classic power trio have issued a string of really quite remarkable albums over the past ten years or so most of which are still available. But until now there have been two releases missing from the back catalogue. Their 2002 eponymous debut album and the follow up live album “Live At The Manette”, have been unavailable for a good few years, but now, ten years on the band have issued not only that seminal debut album, but also packaged it up with the full set from the gig that gave rise to the aforementioned live CD and thrown an unreleased early demo track in for good measure.

Now listening back to this album I am struck at how fresh this stuff still sounds. The trade mark sound of Grand Funk and Blue Cheer influenced old school hard rock fused with the Seattle grunge sound of the 1990's makes for a very ear friendly vibe. On the studio section of this release tracks like Sleeping Your Way To The Middle, Acapulco Gold and the superb Pentagramagraph come over like the rampaging inhabitants of a sonic Jurassic Park; thunderously heavy, jaw droppingly magnificent and maybe just a little bit scarey. This is music that went extinct many years ago, but against all expectation and logic, here it is alive and thriving in the modern age.

However its on the “Live At The Manette” section Mos Generator really come into their own. Here we have a warts and all, ball out, no holds barred exercise in classic old school stoner rock sensibilities. Listening to these live tracks my age addled mind is dragged screaming back to to those old gigs I used to attend back in the days of the NWOBHM when not only were new acts doing this stuff in the pubs and clubs of the UK, but old original purveyors of this kind of raw stoner-psyche rock such as The Groundhogs were back in fashion. In fact I have to keep reminding myself that this material dates from 2002 not 1982 or 1972. Highlights of the live stuff? well Stone County Line is fantastic, Opium Eyes is classic, but my fave cut is the Zep influenced You Bring The Wine, I'll Bring The Weather, which has a riff that just drives.

All in all this is great stuff and this reissue belongs in everyone's collection if you have the original versions or not.

For Fans of... Stone Axe, The Muggs, Blue Cheer, The Groundhogs, Antique Scream....

Issa - 'The Storm' (frontiers records) 4/5

I've always had a bit of liking for the old rock diva style of things, a root through some of the darker recesses of my record collection will turn up albums by the likes of Tina Turner, Bonnie Tyler, Lee Aaron, Fiona Flanagan and a fair few others, and its been a long time since a rock diva has crossed my path. So I was a bit happy when I got sent this the second album by Norwegian songbird Issa and I've gotta say I am rather enjoying this.

Issa herself has a great voice, I'm reminded of a sort of hybrid of Natalie 'Torn' Imbruglia and Anne 'Heart' Wilson; its a natural voice, it has all the range and power without the wail if you get what I mean. She has a good phrasing and even if she is a bit 'breathy' in places, her voice is highly likable and very listenable.Musically there is nothing really earth shattering on offer. But with a list of collaborators and co-writers that includes members of such acts as House Of Lords, Toto, Journey, Work Of Art, Xorigin and more you know your gonna get some damn fine tunes for Issa to do her stuff on.


Over all this is a good record, it is commercial, anthemic, expertly produced and performed and manages to avoid most of the commercial rock / rock diva cliches. Ok we do have the power ballad Too Late For Love, that is a pure stadium rock cheese fest, but thankfully that track is the exception rather than the rule. Elsewhere the standard is pretty high. Highlights include What Does It Take, a cut that sounds like Passion Works era Heart, the epic closer The Storm with its huge climax, Two Hearts which sounds a little like classic House Of Lords and my favorite cut - We're On Fire which has a touch of the Asia's about it.


All in all this is a good album that whilst it isn't blowing me away I am finding is very listenable, and is a worthy addition to the canon of great albums by great rock divas.

For fans of... Heart, Paramour, Bonnie Tyler, Journey...

The Dirty Youth - 'Red Light Fix' (RMR Records) 4.5/5

I've been looking forward to getting my hands on a copy of this debut album from South Wales female fronted sleazy hard rockers The Dirty Youth, ever since the lead single Fight arrived at BCFM central a month or so back; and at last Red Light Fix is here...

And all I can say is 'wow'. This album is right up my musical alley. Ten cuts of pure down and dirty, greasy lowlife sleaze metal that has really put a smile on my face after a pretty stressful week. We kick off with Rise Up, a tasty cut of prime rawk that starts off sounding like Within Temptations slutty younger sister at chucking out time and resolves into a glorious air punching anthem for our time 'Rise up join the revolution' great stuff. Having laid out their stall from the off The Dirty Youth carry on very much in the same vein Tracks like the fantastic drinking anthem Requiem For The Drunk, the highly headbangable Ellen - with its intro riff that wouldn't sound out of place on a classic Saxon album, the sleazy bump and grind of the title track and the dark and brooding Promises all flash past in one glorious stream of very highly enjoyable high energy blur of first rate power rock until all to soon you reach the climactic and anthemic This Is For You a track that does indeed mark TDY as the natural successors to the late lamented SAL as maybe the UKs premier female fronted rockers.

This album is commercial as it is possible to get without loosing any of the fire and attitude of the underground. It is played to perfection, well produced, catchy as a seasonal cold (but without the headaches, snotty snot boxes and sore throats) and over all one of the best rock albums of the year so far.

TDY are already a band that are making waves; a show stopping performance at this years Download festival and the UK's rock press and broadcasters rightly getting behind the Fight single, has already marked this lot out as one of the cream of the crop of the UK rocks next generation, and Red Light Fix is an album that will only go to boost their career onto bigger and even better things.

Very Highly Recommended.

For fans of... SAL, Doro, Obsessive Compulsive, Rock In Your Pocket etc...

My Extraordinary - 'Reality' (self released) 2.5/5

I am always suspicious when a new and unsigned band makes big claims in their release blurb, after all music fans are not stupid. if your gonna make huge claims about yourselves you better have the music to back it up, or your only gonna look like stupid hyped up ego trippers. So when I got this mini album from Newcastle indie rockers My Extraordinary and read the following (unattributed) quote "Newcastle has failed to provide the music industry with anything deserving of the City's title since Maxïmo Park but now we've finally found our diamond in the rough", and they are making statements like "they have become well known for their unique brand of alternative rock;" I couldn't help but pay special attention.


First up, I gotta be honest, there is nothing Extraordinary on offer here, this album is seven cuts of bog standard indie rock Don't get me wrong, they are some good songs on offer, and I can't knock the playing or the production either, it's just that My Extraordinary are not really different from any of the other indie rock hopefuls that pass through my inbox every year. You get all the standard modern alt rock and indie influences ticked off... Coldplay, Muse, Radiohead, Franz Ferdinand etc etc etc, all the lessons of 'alt Rock Production 101' have been followed... the big choruses, the soaring vocals, angsty piano parts, huge chiming guitars... But its nothing special, just tune into the day time output of Kerrang! fm and you'll hear this sort of stuff all day long.


The first two tracks on offer The Hero That Walked Away and Heroin sound so similar that when I first played this album through I thought they were the same song and while they do change things on the other songs here, there is nothing that stands out as truly remarkable. In fact this release never strays far from the competent mark. Even Amongst The Rain, in my opinion the best track on offer, is a tad forgettable and sings from the same alt/indie rock song book as a thousand other hopefuls I can name.


All of which brings me back to the bands big claims. Is Newcastle and its surrounding area a complete musical backwater with nothing to offer but this standard pop rock fodder? Of course not, in the past few months I've had releases from the likes of Arcite, Down The Machine, The Smoking Rolo Sideshow and others that prove that Tyneside has a lot to offer the world musically. Unique? I think not. They are good, but nowhere near the claims they make for themselves.


Basically, if you like indie / alt rock this lot are worth a short look, but don't believe the hype.

For fans of...  Coldplay, Muse, Radiohead, V0iD, Go Team etc....

NOTE  - since posting the above I have recieved a number of offensive and peronsally threatening messages from either the band themselves and / or their supporters. So I gave them a baddish review, so what, the above is my opinion and so you can't hear  what I hear, I appraoch my reviews  from a neutral perspective, NOT as a fan of the band already so maybe I can hear stuff in here you may not be able to or agree with. Its a called differering opinion, get used to it. So grow up kiddies, My Extraodinary aint going to get anywhere if they or their fans are gonna start flame wars with everyone who may not like them that much, just earn themselves a rep as being complete prima-donna tossers. I have no objection to people differing with my opinion, or posting as such, after all it takes all sorts, but if you have not got the language skills to do it without personal attacks, foul and abusive language and shitty attitudes, you loose the right to comment back.