Category Archives: Album & EP Reviews

THE GREAT AFFAIRS – 4 EP

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great-affairs-4In the summer of 2011, singer-songwriter Denny Smith put his roots rock band The Great Affairs on hiatus to concentrate on his more alt-rock project, fORMER.  By the summer of 2012, just as it felt as if we may be hearing a lot more from fORMER, Smith had a change of heart – he put an end to that band (possibly forever, possibly not) and decided to resurrect the Great Affairs name.

The rebooted Great Affairs are a little different to before.  Instead of concentrating on acoustic based material (as per parts of their second album and all of their last EP), Denny has decided to blend the best elements of the prior Great Affairs sound with a few of fORMER’s rock leanings, effectively combining his musical talents into the one band.  Partly due to a renewed focus and partly due to a new rhythm section, The Great Affairs rock harder than before on a few of these songs.

Prior to the release of ‘4’, the band paved the way with a homespun video clip and a new song, ‘Sherrybaby’.  Showcasing the slightly punchier style quite effectively, the tune has more than a hint of power pop at its core, a relatively strong hook and stronger vocal pulled together via a staccato riff.  While this tune is feel-good in nature – and will possibly get you bouncing – it’s not even the best on offer among these seven songs!  It’s eclipsed by ‘Dyin’ To…’, another Smith original.  With a generally upbeat nature, ‘Dyin’ To…’ is a number which previously would have been more likely to find a place in the fORMER cannon.  Its general spikiness doesn’t stick out too much among these tunes, though, since the slower chorus sections utilise plenty of ringing guitar parts that have more in common with bands like The Connells and the criminally ignored Pound.  Overall, it could be argued that although it doesn’t bring anything particularly new to Denny Smith’s repertoire, the sound is one of a band playing to their best strengths – and it’s no less enjoyable for its tried and tested nature.  A couple of spins in, the new rhythm section start to really make an impression.  When listening yourselves, just be sure to pay attention to bassist Henry Go – although he doesn’t set out to ever upstage the arrangement, he plays a few fills that suggest he’s capable of far more than what’s asked from him during this tune…and, in fact, most of the other songs.

On ‘Rock N Roll Heart’, the rewired Great Affairs offer something not too far removed from the rockier tracks from their 2010 release ‘Ricky Took The Wheels…’ With guitars clanging, Smith quickly settles into a very organic sounding vocal melody, before a pre-chorus hints at power pop roots and the main hook drops in with a slight Tom Petty vibe.  Some of you will have heard this kind of thing from The Great Affairs previously, but even with a huge shift in band line up, they still sound as strong as before.  ‘Shame On You’ shifts things up a gear, as the middling Tom Petty influences give way to an excellent lesson in funky rhythm and blues that could be likened to early Black Crowes – although a few more seasoned listeners may spot it being a dead ringer for the overlooked 90s blues rock band Flesh & Blood.  The slightly funky edge suits The Great Affairs well, as does exploiting the contrast between Smith’s slightly raspy voice and drummer Kenny Wright’s smoother tones.  While it’s a number that has solid foundations – great guitar work, heartfelt vocals – it’s the old-school organ lurking in the back which really catches the ear.  By the time it breaks to the fore for a brief solo, it’s obvious that more of a feature should have been made of this.

‘Fists & Guitars’, as its title suggests, is a full-on rock ‘n’ roll thrasher – and it’s on this Kenny Wright penned number that the promise of the revitalised Great Affairs being a kick-ass band really delivers.  With a ragged style and a no-holds-barred rock ‘n’ roll aesthetic, The Great Affairs crank out sweaty riffs akin to early AC/DC meeting with the Led Zeppelin 1971 classic ‘Rock And Roll’, with a little Quireboys-esque bar-room trashiness chucked in for good measure.  The riffs come fast, the slightly squealy vocal attacks the listener, while lead breaks on guiatar and harmonica add to the overall raucousness.  Somehow, the band still find room for occasional acoustic guitar overdubs and another cracking bassline.  While each of these songs offers something of listening interest, this is the pick of the crop.

So, what of the acoustic side of the band?  The first of two largely acoustic songs, ‘The Ring’, is a little disappointing on the first few listens, its ambling nature sounding like a Wallflowers demo but with very little of that band’s sense of grit.  Afer a while, the guitar solo proves a standout moment with its restrained nature, as does the organ part, but in terms of long-term enjoyment – and even vocal charm – you’ll find much better elsewhere in these guys’ back-catalogue.  The wistful ‘Gone’ ends the EP with a much stronger tune.  This laid-back workout would have fit nicely among the songs on the previous Great Affairs disc, ‘Happy Ender’; its clean guitar lines and cello-esque drones provide a necessary (and very appropriate) come-down after a couple of the trashier numbers.

While in terms of mood ‘4’ feels more varied than any of The Great Affairs’ previous works, Denny Smith’s husky delivery often retains a familiar tone.  A couple of the songs aren’t perhaps as strong as the band are capable of delivering, but overall, it’s a release which long-term fans should still enjoy.

CRY HAVOC – New Life EP

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cry-havocUK thrashers Cry Havoc mean business on their debut release.  This EP, recorded with Martyn ‘Ginge’ Ford and Matthew Bond (known for work with Slipknot, Trivium and Skindred) recalls many great elements from the late 80s/early 90s thrash metal scene, delivering those now old-school riffs as expertly as possible for a twenty-first century audience.  If thrash metal hit the spot for you back then and fancy something nostalgic – or else have always loved metal with a strong thrash influence – then look no further!

The opening number ‘Losing Everything’ almost tells you all you need to know with regards to whether you’ll love this band or not.  Within seconds, Cry Havoc launch headlong into a well-played approximation of 80s thrash/speed with a hint of slightly more modern metal.  With great riffs throughout, Cry Havoc sound strongest when leaning more towards the old-school thrash, but they’re certainly none the worse for that.  Vocally, Gav sounds a tad harsh in places, but often retains a relative clarity, making the lyrics very easy to digest.  Their metallic force is balanced out by a surprisingly melodic chorus, and by the time this number comes crashing to a halt via an unsubtle cry of “shut the fuck up”, you know Cry Havoc mean to leave a lasting impression. ‘Ignition’ allows a slower mood to come to the fore in places, with a main riff evocative of ‘Master of Puppets’ era Metallica or post ‘Crusade’ Trivium – either influence a very welcome one indeed.  Despite the chuggier moments allowing more accessible elements to cut through – and a chorus which leans even more towards the melodic (relatively speaking, of course) –  drummer John still attacks his kit with the full force expected of classic sounding thrash/speed metal, with plenty of hefty pedal work.

Kicking off with some bottom end bass and a solid drum groove, ‘Alone’ at first hints at a slower, meatier workout and then – boom – it’s then straight back into a world of excellently played metal riffs.  The full-on chug and growlier vocal line evokes the best elements of ‘Seasons In The Abyss’ era Slayer – particularly once the twin guitars get the opportunity to chime in before an all-too-brief guitar solo.  The title cut begins gently with some clean toned riffing and a whispered vocal teasing at something epic waiting in the wings and then, as before, Tris and James settle into staccato riffing worthy of Metallica, Testament or any of the thrash greats, before finding time for a well-executed solo.  It doesn’t really offer the listener any more of a broad musical spectrum than heard previously, but frankly, what these guys do, they do exceptionally well.

If you like your metal with a full-on sound with no obvious alternative influences creeping in, this is almost guaranteed to please.  By the end of the fourth number, it starts to feel as if this should have been a full length release.  It may be short, but in classic metal terms, Cry Havoc’s ‘New Life’ serves up four slices of near perfection.

December 2012

BLACKWOLF – Taking Root EP

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d8ace71ace19924c4abb45d0a3becd12ee172dc2Although still a relatively new band by the end of 2012, BlackWolf had already been busy on the live circuit, having played the Bulldog Bash biker’s festival (twice) and trodden the boards with many other rock bands, including Jettblack (a band who seemed to tour endlessly).  With an old-school rock sound that’s tailor made for live performance (possibly complimented with a fine ale), this EP may not always show off the Bristol band’s energy as well as a live setting – something true of most bands – but definitely shows them to be very accomplished musicians and reasonable songwriters.

Opening with a classic sounding rock riff, ‘Stairway Ticket’ wrong-foots the listener by quickly and seemlessly morphing into something a little funkier than expected.  Multi-tracked guitars handle some great chops throughout – and it’s soon obvious these guys are working to a very professional standard.  It’s vocalist Scott Sharp who carries this particular piece, with his voice moving between rock-blues cries to higher register banshee wails throughout.  A strong start, certainly…and if this grabs you, you’ll enjoy the rest even more. ‘Finding Fables’ has a basis that sounds like a harder rock Black Crowes, the riffs bolstered by a really hard drum line.  A couple of Sharp’s more 80s wails occasionally seem at odds with the definite 70s leanings of the tune but, once again, everyone puts in maximum effort.

With tapped notes during its intro and an impassioned vocal cry to kick things off, ‘Wayward One’ gently tips the hat to AC/DC before adopting a similar mood to the previous couple of numbers.  While there may not be a great variation from anything that’s gone before, John Greenhill shows off an ability to work a solid riff – and a couple of well-honed solos – while the rhythm section lay down some good work.  Leaving the strongest track for last, ‘Seeds’ is a cocksure workout which, during the verses, has a spikier basis than Blackwolf’s other tunes.  Despite this, it manages not to be any more aggressive, as this spiky quality is counterbalanced by a groove-laden riff which sounds a little Zeppelin-ish in places, but also with a southern tinge not unlike the excellent Black Stone Cherry.  Once again, the bones of this tune may not be far removed from those you’ve heard previously, but all the same, there’s a sense of the band upping their game just a touch… In a couple of places, Sharp reigns his voice in a little, while bassist Ben Webb gets opportunity to tear into a bass solo – and he’s a very gifted player.

Although BlackWolf’s sound borrows heavily from many classic rock influences – a touch of Zep here, a dose of Crowes there, with a sound hinting at a lighter equivalent of Black Stone Cherry lurking throughout –  thankfully, no influences are flaunted too heavily.  Even during the most obvious hat-tipping, Blackwolf’s nods to others seem nowhere near as blatant as with other bands [for example, The Temperance Movement’s subtle-as-a-brick Black Crowes-isms]. While it would have been wise for the band to have included one slow number (if nothing else, to show a fuller range of their talents), this EP provides a great taster.  If you like meaty, tuneful hard rock, this is a British band worthy of your support.

December 2012

THE DISCONNECTS / CRAZY & THE BRAINS – Split EP

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02-29-Discs-The-Disconnects-Crazy-the-Brains-Are-on-the-Other-SideReleased via the independent Baldy Longhair Records – a label championing analogue formats, specialising in cassettes – This split EP ‘…Are On The Other Side’ features three tracks each from two New Jersey DIY bands.  The Disconnects’ straight up rock ‘n’ roll/punk hybrid (with a heavy leaning towards the latter) should appeal to most punk-oriented listeners, while Crazy & The Brains opt for something a little more individual.

By the time of this release, The Disconnects had already gained enthusiastic notices for their earlier ‘…Are Healthy’ cassette.  Fans of that release will be thrilled to know that the NJ punkers are working firmly to a tried and tested formula here, with their three songs capturing a similar spirit as before with their near-classic brand of punk and rock proving tough-edged yet wholly accessible.

Kicking off with ‘Wake Up Dead’, the band stamp out riffs which sound like a cross between early Rocket From The Crypt and the more retrained elements of cult UK punk ‘n’ rollers, The Computers.  Mixing a high energy riff with a slightly yelpy vocal, this two minute belter ensures maximum thrills.  If anything, though, two-minute belter ‘Parasite’ which swiftly follows is an improvement.  Whereas ‘Wake Up Dead’ filled a far bars with a trashy lead break, ‘Parasite’ is purely lean and mean, the only concession to a lead break being a very brief Chuck Berry-esque riff occasionally cutting through the sweat.  Their final offering, ‘Destroyer’ pulls together the best elements of the two prior numbers, coupling them with a one-word chorus, designed to lodge itself in your head almost instantly.

On the flip side, Crazy and the Brains are somewhat more of an acquired taste.  While often taking on the speed and energy of a punk band, they aren’t so easily pigeonholed.  Their sound takes in elements of indie-rock and lo-fi grooves, a little anti-folk and a whole world of garage-based sneering.  What really sets them apart is their choice of lead instrument: whereas most bands would fill the lead space with a spiky lead guitar, these guys leave most of the lead to a plunky xylophone!  Yes…you read that correctly.

Both ‘It’s Alright’ and ‘New York City’ sound like a lo-fi, relatively low budget cousin of early Violent Femmes, something driven home by the use of acoustic instruments and nasal vocal.  With maximum speed, the clanking percussion on ‘It’s Alright’ grabs the attention instantly, so much so, it’s occasionally hard to focus on the other stuff going on.  ‘New York City’ features a a bouncier more accessible sense of melody and some unashamed “woo woos!” thrown into the bargain, but once you’ve tuned in, though, both numbers have their cool elements.

While The Brains’ own material is fun enough, it is on a spirited cover of Ramones’ ‘Oh Oh, I Love Her So’ where they really come alive.  The trashy 60s vibe really suits the percussion, allowing the xylophone to hammer out an upbeat rhythm and give a well-worn punk classic an unfamiliar slant.  The instrumentation may have changed, but Ramones die-hards will be pleased to know the main arrangement has not.  Given their unique sense of style within punk circles, it would be great to hear what C&tB could do with other classics – maybe a couple of Damned hits played in a quasi-buskers’ style, or Black Flag tunes played on an array of percussive instruments…

Between the more traditional sounds of The Disconnects’ punk ‘n’ roll and Crazy & the Brains’ take on garage based fun, each side of this EP has very much its own distinctive mood…and makes a great jumping off point for anyone unfamiliar with either artist.  The playing time may be short, but it’s about quality over quantity here – especially in the case of the material offered by The Disconnects – making this more than a quickly recorded selection of cast-offs.

December 2012

ROUGH CUT – Rollin’ Thunder EP

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rough cut epWithin the first year of their existence, UK rockers Rough Cut have shared stages with cult rock bands Crashdiet and Jettblack.  They’ve supported the excellent Black Spiders.  They’ve even toured with American melodic rock legends Mr. Big – an impressive addition to the CV of any band, but especially so considering  Rough Cut were without a release behind them at that time.

On ‘Run Home’ – arguably the best track from this debut EP – Rough Cut attacks the listener with a hugely cocky guitar riff, its weightiness bolstered by a superb drum line from Jes Hartley.  Almost immediately, there’s a strong sense of Rough Cut’s love of classic rock and metal at the heart of their sound, although this is a band who never obviously set out to emulate any of their heroes or influences. The speed – if not necessarily the overall tone – evokes a mood of the early 80s New Wave of British Heavy Metal. This is something, perhaps, enforced a little farther by Jack Simkin’s vocal style; it’s not flat as such, but he favours a very natural tone which allows the Englishness of his vocal to cut through.  That said, his style is very complimentary the rest of the band as they power through this opening number – and, indeed, a couple of the others – at something nearing full-pelt.  If you don’t mind things adopting such a distinctly British slant, this is definitely enjoyable, especially as that great riff is coupled with a simple and relatively memorable chorus.

Another similarly full on hard rocker, ‘Romeo’s Dead’ doesn’t show much more of Rough Cuts talent, but, as before, the four musicians approach the material with a great power; a power evident even in the studio environment.  No nonsense riffing and another hooky chorus pass three minutes enjoyably, but the real high point is the guitar solo played by Simon J Court, whose blues edged, hard rock chops are terrific, filling a few bars with heavily wah-wahed notes like a true pro.
‘Midnight Rider’ starts excellently with some all-too-brief twin lead in the intro before the band career headlong into another punchy riff that’s not too far removed from those heard during the first two numbers.  While it may be tried-and-tested, the playing is spot on, with a great tightness in the rhythm section once again.  As before, Rough Cut ensure they take their meaty riffs and couple them with a decent chorus and the feeling of the band’s sweaty energy throughout really comes across on the recording.

In a slight change of pace, ‘Guardian Angel’ shows off a (slightly) more melodic side to Rough Cut.  After an acoustic intro (almost sounding like a quasi folk jig), the arrangement offers some terrific pumping bass, before settling into a more mid-paced rocker, again showcasing plenty of old-school chops.  At the slower pace, Simkin’s rough ‘n’ ready vocal approach seems more obvious than ever before, but he more than holds his own…and, obviously, a natural voice is often far more preferable to a voice subjected to studio shine. As with the other tracks, the highlight comes with the guitar solo; while a tad more restrained than before, it’s soon clear that although Rough Cut are a solidly talented quartet, it’s Court who is often in the driving seat.

Overall, ‘Rollin’ Thunder’ will certainly appeal to those who like a bit of trashy hard rock in the “classic” mould, even though three of the songs each have a very similar approach.  With a lot of potential and an obvious love of all things in the classic rock/old-school metal field, it’s just a pity they couldn’t have chosen a more distinctive name: for rock fans over a certain age, any band named Rough Cut are destined to be confused with Amir Derakh’s 80s hard rock band…

December 2012