On their earliest albums, Mexican thrashers Strike Master conveyed a great energy, but their material was often hampered by a thin production sound. In some ways, this made them no different to many of their musical heroes; after all, a lot of the second division thrash albums released in the late 80s sounded pretty cheap, and it was often the bands’ energies in the live field that secured them a fan base. By the time Strike Master released their self titled album in 2017, there was obviously an increased budget, as well as a bigger bass sound driving their material, but there was still a nagging feeling that this talented trio were capable of producing something even better.
Author Archives: Real Gone
THE REAL GONE SINGLES BAR #15
Welcome back to the Real Gone Singles Bar, the place where we explore some of the individual mp3s that have landed in our inbox over the previous few weeks. This feature has become more popular than we’d ever imagined, so it’s a genuine pleasure to bring you another round of underground cuts, oddities, and other things that deserve to be on your radar. As usual, we’ve been spoilt for choice, but here are another eight standout tracks, ranging from some very grand sounding pop-rock with a retro feel to semi-orchestral minimalism, some retro rock and another tune from a favourite band. We think this sums up the varied approach of the Singles Bar to date, and as usual, there should be something for most people to enjoy.
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GEORGE LYNCH & JEFF PILSON – Heavy Hitters II
At the end of 2020, George Lynch and Jeff Pilson released ‘Heavy Hitters’, a well meaning but not especially good covers album, on which the 80s legends took all manner of material and made it heavier. Not everything will withstand being made into a massive rock tune, and hearing the two ex-Dokken men cranking their way through Martha & The Vandellas’ ‘Nowhere To Run’ with distorted vocals was especially grim. Likewise, the world didn’t need Duran Duran’s perfect pop tune ‘Ordinary World’ reworked in a sub grunge mould, or the Joan Osborne hit ‘One of Us’ presented as an unimaginative hard rock trudge. However, the musicians clearly had fun mauling other peoples’ material, and three years later, decided to foist a second volume of covers upon everyone. Thankfully, ‘Heavy Hitters II’ is a massive improvement on its predecessor.
NO DIVINITY – Generation Of Pain EP
Released two years after their ‘Ceremony of Suffering’, this second EP from North Dakota’s No Divinity presents a big step forward for the band. Its four songs still feature the huge riffs that their fans have come to recognise, but they’re used in much broader strokes for an increased heaviness. This time out, the band have dispensed with the sub-two minute hardcore blasts, and instead concentrated on their longer, heavier jams – in the vein of ‘Splinter’ – to bring the best out of an intense, crushing guitar sound. More importantly, it comes with some massive production values that help to make their crossover hardcore sound even bigger than before.
VARIOUS ARTISTS – Meddle Reimagined
Pink Floyd’s sixth album, ‘Meddle’, is regarded as a prog rock masterpiece. The band had released enjoyable works prior to its release in 1971, but ‘Meddle’ is arguably the first album where all of the “classic Floyd” ingredients came together to create something coherent. David Gilmour has referred to it as the first album since his appointment as guitarist that really made sense, and – as enjoyable as bits of its predecessors are in their own weird and wonderful ways – it’s hard not to argue with that logic. The thunderous bass groove driving ‘One of These Days’ very much looks forward to parts of ‘Animals’; in Gilmour’s ‘Fearless’, there’s a melodic prog songcraft that he would take forward and make the heart of ‘Dark Side of The Moon’ and even the post-Roger Waters ‘Division Bell’, and via the mighty ‘Echoes’ – a side long epic – bits of the Floyd’s soundtrack recording past collide with huge solos, and there’s even a melodic phrase that would be reworked a few years later to become one of ‘Dark Side’s timeless musical touchstones. Unfortunately, there’s the lazy blues of ‘Seamus’, too – something that undoubtedly grew from their Pompeii animal cruelty jam ‘Madamoiselle Nobs’ – but very few albums are perfect.