Back in the 90s, Canadian hard rockers Sven Gali released two very enjoyable albums. 1992’s ‘Sven Gali’ cast the band in a similar mould to ‘Slave To The Grind’ era Skid Row on a set of songs with big riffs and bigger choruses, while 1995’s ‘In Wire’ took a heavier direction and – like so many hard rock acts during that era – found the band swimming against the musical tide, despite their best efforts to stay vital. Much like Vince Neil’s ‘Carved In Stone’ released at a similar time, ‘In Wire’ mightn’t have been exactly what fans wanted upon release, but as the years have passed, it has sounded better and better.
Twenty five years on from their second LP ‘Inwire’, hard rockers Sven Gali returned in June 2020 with their third release, the appropriately titled ‘3’. With four riff-heavy tracks that take the bones of their earlier sound and potentially make it heavier, the new EP is a fantastic listen for anyone who enjoys a heavy sound with melodic roots.
By the end of 2019, Jeff Scott Soto had celebrated thirty five years in the music business. One of melodic rock’s most gifted vocalists, in that time he’s released six solo albums and over thirty more as a full-time frontman with a band. Obviously, you’d expect such an extensive career to take in a live album or two already, but by the spring of 2020, Jeff had no fewer than seven live albums to his credit (three with Talisman and four solo), so in that regard, fans have been more than well served. With three of those already covering his output for Frontiers Records admirably, there’s initially a feeling that 2020’s ‘Loud & Live In Milan’ might just be surplus to requirements…
With five tracks of riff-heavy and fairly trashy hard rock, The Hÿss sound particularly assured on their 2020 release ‘Extraterrestrial’. Although claiming stoner rock roots, this recording shows off much less of the genre’s typically fuzzy sound, preferring instead to latch onto several crushing, concrete infused riffs. Any stoner intents are more likely to come from the disc’s lyrical content; one that drops the listener straight into a self-made world of spaceships, alien creatures and disco monsters. Although not necessarily coming from the same musical roots, in terms of concept, this is an EP that would make the Misfits and The Groovie Ghoulies proud.
Armed with the swagger of Motley Crue, the crunch of mid 70s Sweet and a bunch of great choruses, Ratt briefly became massive stars in the US during the mid 80s. With a couple of videos gaining heavy rotation on MTV and a best selling debut album, they were among the melodic metal/glam scene’s most successful acts.
None of that applies in the UK, even though Ratt got of lots of positive press from the rock magazines. With MTV Europe barely off the ground, they were without an outlet for their videos and a rock-averse radio system meant the singles got no real airplay. As a result, Ratt were unknowns outside of the keener rock fans’ community; the closest they came to a hit was having their second album scrape the top fifty of the album chart in 1985. It’s hardly a surprise that, for UK record buyers, most of their albums have spent most of their life in an out of print limbo. For those British fans, most Ratt discs – save for 1990’s ‘Detonator’ – were procured on vinyl, as cheap imports from cut-out bins.