WHITE LION – Return Of The Pride

White LionBack in the late 80s/early 90s, White Lion released a couple of great albums in ‘Pride’ and ‘Mane Attraction’. By more modern standards, the production on ‘Pride’ is a tiny bit trebly (okay, maybe a lot trebly), but it had the songs to back up any technical shortcomings.  A couple of ‘Mane Attraction’s songs were noticeably weaker – and they even padded out the disc with a re-recording of ‘Broken Heart’ (the original can be found on their 1987 release ‘Fight To Survive), but in many ways, it was a perfect swansong. Vocalist Mike Tramp’s follow up project Freak Of Nature attracted a solid fan base, but the more alternative leanings in the band’s sound turned off some more “traditional” rock fans, leading to decline in record sales. His later solo album ‘Capricorn’ was more than decent, but by this point Tramp’s sales figures were practically non-existent compared to former glories.  In that respect, it’s almost understandable as to why by 2008 Frontiers Records would want Tramp to release another White Lion album.

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THE MINORS – Intruders EP

Minors EPThe Minors are a Brooklyn based duo comprising of sometime Swimclub member Greg Adams and his multi-instrumentalist/producer/engineer nephew Tom Jebb.  The idea of a homespun family duo brings back unpleasant memories of 2010’s oddball, misguided release by Quakers on Probation and while The Minors, too, could have used a little more of an outside influence from time to time, the core of their material actually shows promise. Their chosen sound – somewhere between a 60s power pop outfit and very light rock ‘n’ roll – is both user friendly and strangely familiar.

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AMERICAN HEAD CHARGE – Shoot EP

AHC Shoot EPUS hardcore/industrial metal outfit American Head Charge made a few waves with their 2001 album ‘The War of Art’, released on the American Records label [original home to The Beastie Boys and Black Crowes, sometime home to the legendary Johnny Cash and metal titans Slayer].  It’s opening barrage of tunes hit like a concrete hammer, while the shouty, uncompromising and scratchy vocals from Cameron Heacock bore a resemblance to Sick of it All’s Lou Koller (circa 1998).  A great combination of tough musicianship and hard-hitting material proved a winning combination…and then the band disappeared for four years.  Perhaps this was a little longer than they should have been away, since by the arrival of 2004’s ‘The Feeding’, the band were reported suffering from internal problems.  Not long after, they were missing, presumed gone forever.

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