Category Archives: Album & EP Reviews

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

WISE GIRL – Wise Girl EP

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wise-girl-large-logo (1)In the mid 00’s, Wise Girl’s frontwoman Abby Weitz was the vocalist with pop punk band The Lookaways.  Although that band never achieved great mainstream success, they performed on the 2006 Vans Warped tour and even played at the legendary CBGBs in New York.   On Wise Girl’s 2012 EP, Weitz sounds more settled than before, with a handful of songs replacing most of her previous punk pop traits with a semi-slick power pop groove.

The lead single, ‘Set In Stone’, captures the band’s sound well enough, pitching a tough guitar jangle against a strong pop sensibility.  While the chorus isn’t an instant hit, a few plays in and the song shows it to have a strong musical backbone; it’s relative sing-along qualities recall older works by Letters To Cleo and the much overlooked Stretch Princess.   On the bouncy ‘Roles are Reversed’, there’s a slightly poppier vibe, one which allows Weitz’s sugary vocal to carry most of the main melody.  Wise Girl isn’t just the Abby Weitz show, though – the rest of the band pitch in with good performances. At the track’s end, Chris Fasulo plays a sharp lead guitar part which has a tone that, perhaps, owes as much to country rock as it does to power pop (although the tune stays firmly within a power pop remit) while the rhythm section are also interesting – particularly the tough sounding bass lines occurring throughout.

Adopting a slightly harder sound, the mid-paced ‘Wishful Thinking’ is the best of the EPs three tracks.  The wall of rhythm guitars moves away from power pop and has more in common with post-‘Warning’ Green Day.  In fact, it has a tone which would fit best with GD’s Foxboro Hot Tubs side project, as – despite the slight distortion throughout – the clanging guitars offer a very 60s vibe.  The slower approach allows Weitz to push the crying edge of her voice a little farther, making it her strongest performance here.

A fourth track ‘I’m a Freak’ (streaming via their ReverbNation profile at the time of the EPs release), on the surface, at least, offers more of the same.  The chunky rhythm guitars have hints of The Cars and early Weezer, while the hooky chorus makes an instant impression, driving things in a pop-oriented direction.  The use of a slight auto-tuning makes it less pleasant listening overall, though, and threatens to spoil an otherwise solid tune.  The general mood here should catch the ears of those who still enjoy Avril Lavigne’s earliest output.

With the lurid pink and black artwork and Weitz’s vocal retaining a lot of saccharine shine, this band may be in danger of being written off as a band who may appeal to a slightly younger audience.  While that isn’t necessarily wrong, or even a bad thing, such potential feelings shouldn’t detract from the fact they know how to pen a decent tune.  ‘Wishful Thinking’ is worth three minutes of your time alone.

December 2012