Reviews

A long time in the making, drummer Jeff Austin's mindchild finally gets a release bringing the project to the fore of melodic rock. Nine songs with a good pop appeal cut in with "Lisa", the prime example of '80s AOR: Rex Alan's bass thundering away, Mark Severns delivering a cute solo and all the lot joining in on choruses. These choruses never fail, even though guitar work may seem a bit obsolete to ditch songs like "Too Late For Love". Bolder attitude to rendition would do great to complement Austin's songwriting verve, that's why the best thing on offer and a centerpiece is a cover of COBRA's "I'm A Fighter" - gusty and gutsy and allowing Mark Roebuck to explore the lower register of his voice while the high notes get hit in "So You Ran" written by Barry Goudreau of BOSTON fame. But Austin and Co, they're not averse to experimenting to push "Too Many Midnights" and "Caught In The Ecstasy" to almost prog boundaries. Here shows a future that undoubtedly justifies the album's title.

***4/5

A rare example of American art rock band which drew too heavily on the British to make it big on their own. Let alone the title track which is not a PROCOL classic and which starts very ELP-like, comparisons to YES are inescapable not only due Terry Luttrell's voice but also the overall method outlined with "Fountains Of Light". With less extravaganza to their show, as this 1978's concert proves, the band found a steady following anyway. No wonder with music of such elegance, set by five-part vocal harmonies, Herb Schildt's meaty organ and Matthew Stewart and Stephen Hagler twin guitar web. Light as they might be in "Could This Be Love", within "Forces" 'CASTLE pulled in more folk rather than YES' cosmic matters. Surpisingly, there's a humour hidden in inserting Hendrix wah-wah's bouncing off leader Gary Strater's bass, so in this fomula pop of "Can't Think Twice" fits extremely well - but wasn't then a time of SUPERTAMP's worldwide success?

This lightness had the other side to it, in epic "Lady Of The Lake", rumbling bass and Stephen Tassler's expressive drumming notwithstanding, Gargantuan soloing lacks the pepper of ELP's "Pictures" that 'CASTLE seem to rely on, surging well but not as deep as could be. And it could be, as witnessed by "Breath And Thunder" amassing synth spell and sonic battle; swingier signatures, introduced in "Change In Time", come of stronger appeal than common drift. Then-promoted "Citadel" was the last solid outing from the band bound to fall in a couple of years, so the glimpse into this stellar fortress feels more than welcoming.

****3/4

A kind of metal opera hailing from Argentina, "Infinity" is a soothing thing in feel and clever from vocals point of view. Using metal as a background, Vazquez offered the spots to the most oustanding female singers on the scene: NIGHTWISH's Tarja Turunen, EDENBRIDGE's Sabine Edelsbacher and Candice Night of BLACKMORE'S NIGHT. Contrast between the cold clear tones of the former two and the latter's warm homely voice translates into music itself, stretching from precise Scandinavian metal (there's STRATOVARIUS' Jorg Michael drumming) to medieval dances. A difficult task, presumably, for a hot-blooded South American whose real soul may lie in "The Battle Of The Past" finale sung by Fabio Leone from RHAPSODY. And so it goes, parts written for a certain singer and somehow coalescing into a whole.

Tarja's leads into a story with "Until Dawn" arguably better than in her own band. The reason is music being rather progressive pop than real metal to mellow more in harpsichord-adorned "Wizard" which finds Tarja and Sabine duetting - but with a little distinction to them, effect's lost. Whatever soft Turunen delivers "Sadness In The Night", ballad's too straight, even with piano and exquisite acoustic guitar, to stand against simple joy of Night's suite "Voyagers Of Time", all flutes and whistles, exactly what one might expect from Candice (except for the sax solo, an unlike setting for Lady Night), yet instrumental "Infinity Space" savagely divides the idyllic stance. Not harder though than another Tarja/Sabine duet, bass-filled "The Laws Of The Future", before three voice unite for "Promises Under The Rain". In this one, the trick works and that could be a fitting end to a good work... But it's rock'n'roll, so "The Battle" for an encore isn't bad as well.

****1/2

Bizarrely-named Israeli band present their perception of "Otello", the view sinister. "Divinity Of Hell", an epic in itself, sets a Gothic ambience with roaring/whispering voice coming across predatory keyboards, spectral drums and howling guitars - rather Poe than Shakespear and avant-garde rather than art rock. The feeling zooms in in jazzy-ticking "Senat" which somehow swallows a listener by its insistent drone. But where's the Moor himself? Come thee and see him dancing to the "Caracin Clink" mad swirl - here's the genuine Middle Eastern flavour fills the air to soar arrestingly with dazzling choir of "King Victor". And then, blackout! "Handkerchief", the tragedy centerpiece: anxiously urgent soundscapes swell and burst, a mind blanks and unfurls in crazy, overtly CRIMSON-esque "'Tis Of Aspics' Tongues". Muezzin licking the aural fudge is not for faint-hearted, indeed. Yet there's plaintive "Willow Song", a heart-wrecking piano-driven ballad in the vein of early Bowie. All murky, dark and gloomy, the album may lack some of the "Otello" humour but this musique concrete perspective of classic doesn't feel sacrilegious at all. An interesting new angle on the old strangler.

***1/2

Jeremy Morris is a relentless purveyor of sunny pop that simply doesn't belong now, and it's just amazing how this Sixties' innocence still lives in someone's heart. Starting the album with a song like "It's Getting Better" feels a statement garbed in jingly-jangly sequinned suit of THE BYRDS' stripped off their psych. But there's not a band behind 20 bouncing tracks, only Jeremy picking guitar to get high with a scorching solo of "Good Times", and his life-long friend Dave Dietrich on drums grooving in genuine 1967's "Chain Reaction". Even though the first half of the album appears stronger, to single out a tune seems quite a task - especially with a conception where question of pretty "Where Is Love?" is followed by poignant "The Answer". Ha, 33-second "Happy Helmet" is the one! With his mellow rock'n'roll underlying "Can't Go On This Way" and "Where Were You?" tight harmonies, Jeremy picks up where the Fabs left off. No shade of pretension, no freak-out of modern age make the collection a soundtrack to lying both on a beach and on a sofa with your sweetheart. That's why pop rules - these feelings are timeless.

****

The pioneer of theatrical metal feels obsolete these days when the genre's brimful of good singers whose ability isn't confined to roar and falsetto use. With many a competitor for the throne around, taking a risk was a dangerous thing to do yet it's King's status that matters now, not his music, and comparing original "Abigail" to "The Revenge" may come not "More Than Pain", as the man himself says. Still a seminal figure, in "Mansion In Sorrow" Diamond's no slouch in reminding the lot who was the first on the scene. And if there's a story with no end a sequel's always in tow, so the old are drawn to it by curiosity, the new by legend, the rest remain unconvinced. Thunder and rain and a crypt are the obvious setting for "The Storm" break that sharp riff drives and King's rap slows down. Sometimes, literally: "Little One" plays with blues in the same measure as with guitar gamuts which, excellent "Spirits" aside, becomes dull nevertheless. Maybe, "The Wheelchair" is not a place for Diamond to be but to end the story with "Sorry Dear" seems no coincidence.

**1/2

TWO FIRES do their second round more convincingly than the first. Fuel to the fire adds unsurpassed melody-maker Jim Peterik, so the opening title track melts the ice effectively and "I See Red" sharp riff blinks alert. "More Than A Mistery" is even better though it tastes a bit like icing to cliched soft metal schemes singer Kevin Chalfant and guitarist Josh Ramos (both ex-THE STORM) stick to when left to their own devices: "Somewhere Far Away" is a good definition, no heart strings attached to sheer craftsmanship. Much more soul is poured in compelling "You're Bringing Me Down", Chalfant singing his tune strangely out-of-tune, but in maudlin "I'm Falling" soul's too much. This AEROSMITH-esque pomp blues gets examplified by "This Night" while "The Man I Want To Be" feels a weird tread on "All The Young Dudes" guitar hook and "I Will Remember You" comes quite raw to digest it well. After this, "What The Whole World Needs To Know" cooks with a substantial slice of organ - should TWO FIRES take the song's statement seriously, they're doomed now, high expectation burning too slow. Still, don't miss the bonus, "Rhythm Of The World", the scorching one.

***1/2

Swedish band are said to have invented goth'n'roll, quite a curious blend: the Gothic faction crawls in to steal a fun from MOTORHEAD-influenced animal rock up on the sleeve with "Shadowman", all thick textures wrapping guitarist Anders Strokirk's phased roar and making it rather lifeless. Or soulless, as the title tracks goes, angry and breathtaking - holding a breath would be a mistake though as songs tend to blur into one streamline arrow that hits a heart occasionally like in solo of "Soulless & Proud". The band's cropping of heads is shaped in "Servants Of The Harvest" and they can be hot - proclaiming "Love Our Hell" - to convince the doubtful in two minutes of "Light The Fuse". Still, fire and ice struggle for the latter to win the day with "Choked With Feathers", where Goth comes forth in sharp if repetitive melodic lines. It's the bewitching brew Strokirk and the team (drummer Hakan Eriksson, bassist Fredrik Holmberg and guitarist Joakim Stabel) pour out of tar-smelled "Blackheart Brain" and SABBATH-derivative "Fullmoon Rising", so whatever they proudly say, there is a soul too.

***1/2

You can't be more wrong running away after seeing titles like "Metal Gods" or "Metal Will Stand Tall". With too much metal on display, it may be either dumb pretention or sheer fun. Fortunately, it's the latter - and we've not been fed with danceable metal for many years. Here, satisfaction guaranteed, which is all but unpredictable from organ-backed (welcome THE FLOWER KING Richard Anderson!) chorale intro of "Metal Gods" erupting through Magnus Karlsson's sharp chops into cute disco-shaped chorus - the pinnacle of the form comes with the title track. A touch different but equally catchy appears "Distorted Eyes" helped by Anderson's hooky line and Jakob Samuel's tremendous vocals. So off it goes - renown drummer Jaime Salazaar and bassist Jonas Reingold laying down profound groove for voice to fly over "Dungeons Of Steel" and "Steel To Steel" (ain't it a loadful of metal?), though the real showcase of the singer's abilities is hidden track, a poignant acoustic ballad. There might be not much new in terms of stylistics yet overall sensation shining through melodies like that of dry "Temple Of The Grail" or the most PRIEST-ey "Fight" feels tasty. Don't fear the ripper then: "Your Blood Burns In Hell" valediction turns into spectacular blues while "Keeper Of The Gate" zooms stroboscopically right to the glam times - that's where the roots of "Metal Will Stand Tall" proud claim lie. Riding their machine, MIDNIGHT SUN know how to convince.

****1/3

It's something unique, a kitchen-sink symphony but of kitchen containing all the world in it, an ambience as domestic as spaced-out provided with "Low Birth". Soft-voiced bassist Ross Marlow, guitarist James H. Sidlo and drummer Lisa Kuehl creat a minimalistic animalistic cosmos that raga-drone of "Famous Animal" opens the gates to. Mesmerising, absorbing "Bad Day" tucks a listener's head under its comfortable wing and sends one to a tribal dancefloor of electronica-tinctured "Beddie-Bye" ditty before sacrificing it on shamanic organ of "Beat Again". Even more brilliant is "Pards", pure Dylan on acid gone Wild West; steel guitar, sitar and accordion draw in an imagery of multicolor psychedelic pots and pans marching across the kitchen on the journey to the sink. DIY ethics somehow marks this twisted path, punky spikes prick out of "Invisible" and turn out Ziggy-hazy for "Eye On You" and "All Fall Down". This dreamy haze comes down on "Arabesque" woozy desert - here's the delicious night, and then, morning dewdrops fall in spacious "Renata" soundscape. The other end of sink is a new day, isn't it cooking?

*****

Warts and all, old hooligan Lemmy reins the ball in celebration of his rocking circus anniversary with this DVD+CD release. Quarter of the century down the line from being kicked off HAWKWIND, Ian Kilminster still generously shares his simple delights with millions. It's visual and at the same time aural pleasure, as 'HEAD don't pull on that much of a show except for occasional dancing routine from Lemmy and Phil Campbell. Be the show more spectacular it may turn into sheer idiotism seen in bonus videoclips of "Sacrifice" and "God Save The Queen" ("not the last single but the latest one"). Queen? Up the Brixton Academy stage on October 22nd, 2000 was unlikely Brian May rather than Ozzy one might expect to. Oz does his cameo appearance anyway - in the archive film following the band's progress. The more poignantly is to see the current looks of a guest from the past, "Fast" Eddie Clarke, and witness him not having lost a bit of fire. He joins Lemmy, Campbell and Mickey Dee for the good part of the concert and puts in his five cents to the backstage interviews which are relatively brief compared to the trio musings.

Debut outing from another Finnish metal combo demonstrates quite a skilful bunch of guys lacking only one - yet crucial - thing: imagination. Their music's solid but simply not interesting. Undeniably melodic if too smelling of MAIDEN while trying to pull in some heroic outfit for "Fall Of Thy Kingdom" and "Black Star". If there's anything distinctive about the quartet it may be the Pete Ahonen's relatively low voice which creates a good combination with fiery guitars of his and Jukka Kyro's in "Under The Dying Sun" speed metal example. Strangely, sometimes guitars appear almost withdrawn, reduced to limp riffing to leave voice bounce off Jari Kaiponen's bass and Toni Kansanoja's drums, like in "Stealer Of Light" or extremely dumb "Signs Of Danger". Besides quasi-balladeering of the title track, an ear only fails struggling in vain in search of memorable tune. Melodies are there, so primitive and elusive once the song ends. Burning seems rather pointless.

**

DREAMLAND, keyboardist Johnny A. Rodriguez and guitarist James H. Sidlo, are the best soundscapes explorers this side of Fripp. Human side, that is, as their music is extremely warmhearted and nature-oriented - spot a bumblebee buzz in opening "Sunspots". Loops, native American flutes and trembling ambience are mixed into suspended minimalist picture of anxious jungle just after sundown. Cosmic "I Frequency. Dream In Soundwaves" gets deeper with lower tones; superficially futuristic, it's the first dive underwater where slowed-down voice echoes and wraps around the dark space blurring the bleak beams hanging from deserted sky. These beams borne from "Brief Moon" weaves a gentle electric guitar which eases the strain to light new age lace, drone lapping over strum and other way round - a delicious ghost dance on the verge of storm. At last, the sonic puzzle fits in a five-part title track reliving the experience anew: insistent piano-splashed "Descent" relaxes in devouring "Floating" to pan in enigmatic "Echolocation" and still on to "Deep Zone" drop-spilling before weary "Ascent". A wonderful journey that needs a home, a label and a distribution.

****1/3

Former Alice Cooper and DOKKEN guitar-slinger goes solo with a band of his own and a mixed bag of tunes. His is a sharp rock'n'roll, like striding title track shows, but chosing the grungey buzz and phased voice for "Dark Places" hardly feels original, that's where many an axeman went before in order to spill fragmented solo between distorted riffarama. It's trendy, this alternative sound, memorable "Sorrow Strained Eyes" and "Bleed", if rightly boosted, are capable to get a lot of airplay, and "Better Shade Of Gray" has its hooks. The problem is there are many similarly shaped songs around that one just grows tired of them, so no matter whatever skillful Beach is, it's hard to say who he's shooting at. "Fanatic" seems a bridge between heavy tradition, melodic verve and modern arrangements, but it's too complicated to relate to and loses to galloping funk of "Red" or light-hearted "Ghost". Masquerading's good yet rock is Reb's real face as lit by vertiginous instrumental "Get Out And Walk". There's the truth lies, in being oneself, heart laid bare in cello-adorned "Love So True". Release the mask.

***3/4