Although their name might not be among garage punk’s most familiar, The Heartdrops released a couple of enjoyable albums back in the late 90s. Their debut, ‘This Is The Heartdrops’ (issued on Melted Records in 1997), served up a relentless collection of riff-based numbers, almost guaranteed to make an indelible impression. The band never got the big break they deserved at the time, but the internet has always been a handy tool for rediscovering overlooked artists and lost gems, and this three track freebie is a superb introduction to The Heartdrops’ world of riffs. The three songs were originally issued on a shared EP with The Spills in ’99 – effectively the band’s swansong – but decades on, the tunes sound as good as ever, and certainly don’t sound like the work of a band that would soon throw in the towel.
Category Archives: Album & EP Reviews
VARIOUS ARTISTS – Breakthrough: The Underground Sounds Of 1971
According to music historian and author David Hepworth, 1971 is “rock’s most exciting year”. There are a lot of music fans of a certain age who would agree with that: those keen record buyers who still treasure well worn copies of Uriah Heep’s ‘Salisbury’, Caravan’s ‘In The Land of Grey & Pink’, Hawkwind’s ‘In Search of Space’ and Rory Gallagher’s ‘Deuce’; people who’d hit their early twenties in time to hear Pink Floyd’s ‘Meddle’ and Emerson, Lake & Palmer’s ‘Tarkus’ with fresh ears when the sounds of those hugely indulgent arrangements sounded like the future; and certainly not forgetting those for whom the first three Black Sabbath albums heralded the arrival of a whole new genre, but arguably hit perfection in ’71. There’s a lot of further weight to be added to the argument that 1971 is musically significant, with lesser known albums by Samurai and Jade Warrior propping up the art-rock scene, The Zombies’ Colin Blunstone delivering an absolutely killer solo debut with ‘One Year’ and Phil Collins making his first major appearance with Genesis. All of that barely scratches the surface, of course, but it’s fair to say there was always far more to 1971 than Led Zeppelin’s monolithic fourth platter and ‘Who’s Next’.
THE WALK OFFS – Sorry For Nothing EP
Formed by ex-members of San Antonio bands Muscle Car and The Debasers, The Walk Offs are a retro sounding rock band, heavy on the bar-room sound. Following on from their 2019 EP ‘Jump In The Front Row’, ‘Sorry For Nothing’ cements their commitment to blue collar rock with six songs that fall somewhere between Nat Freedberg’s finest tunes and The Replacements in a nonchalant mood. It isn’t edgy, but in terms of delivering a succession of old school riffs and solos, it’s the kind of release that’ll score highly with fans of the style.
LORDS OF BLACK – Alchemy Of Souls, Part II
After his associations with Ritchie Blackmore came to an end, vocalist Ronnie Romero didn’t take any time out to reflect on the loss of his highest profile job to date. Instead, he threw himself further into his work. In 2020 he reconvened with his old band, Lords of Black, and released the heavy, semi-theatrical ‘Alchemy of Souls, Part 1’; gained a job as frontman with the new-look Vandenberg; forged associations with Michael Schenker’s revolving cast of stars, and became a member of Milan Vrabevski’s Intelligent Music Project. For most people, this would already represent too much of a heavy workload, but on top of that, Romero also took on the job of being Joe Lynn Turner’s replacement in the much-loved Sunstorm. Their sixth album ‘Afterlife’ (released in the first half of 2021) was much better than it had any right to be, and cemented Ron’s reputation as a reliable and committed performer. One thing was for certain: he didn’t need Blackmore.
SAIL – Flood
Although Sail are a predominantly heavy act, a quick dig through their back catalogue shows that the UK riff makers are anything but stuck in their ways. Their material often has a stoner and doom undercurrent, but there are various different avenues taken along the way: 2020’s ‘Mannequin’ single displayed a strong bluesy vibe; the title cut from 2017’s ‘Slumbersong’ took an unexpected detour into shimmering dreampop without losing the band’s generally ominous tone and 2019’s ‘Starve’ mixed desert rock grooves with a pleasingly crashy riff that straddled aggression and melody in the most perfect way. The point is, it sort of doesn’t matter where you drop into the band’s work; if you love a heavy riff, there’s almost something to suit, and you’re almost guaranteed to come away feeling very satisfied.