Category Archives: Album & EP Reviews

JUSTIN KLINE – Cabin Fever Songs

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After releasing two solo EPs dedicated to multi-layered, sun-filled power pop, followed by a third outing of alternative rock (with his band Origami Hologram),  singer-songwriter Justin Kline takes a different tack yet again for his first full length release.

‘Cabin Fever Songs’ is a stripped down affair.  Recorded entirely by Kline alone at home, these thirteen songs feature voice and acoustic guitar, sometimes bolstered by bass and occasional keyboards.  The songs sometimes come from a much darker place.  Where previously Kline was happy to indulge his listeners in a world of candyfloss brilliance, these songs rely on sheer honesty and heartfelt lyrical content far more frequently than before. These are songs the artist felt he just had to write: deeply personal songs, which given the relatively lo-fi recording techniques, can sometimes feel a little bleak.  Stripped of all the bells and whistles which made his previous recordings so vibrant, it’s much easier with ‘Cabin Fever Songs’ to get a handle on what makes Kline’s songs work…or in some cases, not.

‘Nighttime Girl’ has all the hallmarks of Kline’s earlier brilliance, though in this sparser setting, it exposes how simple his songs can be.  Clean acoustic chords back a voice that occasionally sounds a little sugary for such an earnest recording, while a bassline marks time, never really breaking beyond its two note march.  A world of “oohs and ah’s” flesh things out adequately – and in all honesty, are very much needed.  ‘Resurrect With Me’, if anything, is even more simple, relying on a one line hook and not the most interesting of tunes.  The bass’s marching approach returns for ‘Sunday Night Blues’ a three-chord pop song which showcases Kline’s previous gift for a hook, even though this bedroom recording doesn’t do such a potentially great song justice.

‘Your Mystery’ is one of a few numbers where Kline tackles something truly worthy of standing alongside his previous work. Here, a quirky keyboard tune (sounding slightly distorted and off-key) tops a much busier acoustic riff.  Even without full band backing, Kline’s multi-tracked vocal is a ray of sunshine, while a more staccato approach on a hooky chorus allows his previous brilliance to come bursting through.  The woozy ‘His Knives’ works an unfussy melody and riff around a shiny sounding vocal to create something enjoyably intimate – one of a few tracks where the lack of drums isn’t quite as obvious – while on ‘I Already Do’, Kline turns an enjoyable intimacy on its head and unnerves with a truly bleak lyric.  The one-time purveyor of sunshine pop allows a look into his darker side via lyrics such as “there is no way you can act, to expose the life I lack” and “I was marked when I was born and cursed to always mourn / you can’t make me want to die, more than I already do”.  While he admits that these songs were created during a particularly troubled period, it is unlikely anyone familiar with Justin’s earlier releases expected anything quite so cutting.

The relationship once explored in ‘Triangle’s ‘Alison, We Cannot Be Friends’ is revisited and explored from a different viewpoint on a particular high point, ‘Alison, I’m Here’.  Where as previously Kline was adamant that he and the Alison in question had no more to give each other, on the slightly wistful acoustic sequel, he reaches out to the imagined heroine.  A gorgeous finger-picked guitar has a slight McCartney-esque approach and is impeccably delivered, but it’s this songs bittersweet melody and dual vocal which gives it a most enjoyable quality.  It’s easy to imagine both songs bookending a compilation of Kline’s best work, should such a release ever appear.   Just as enjoyable, the jangly ‘Carol Lynn’ is classic Kline: with an upbeat vocal and buoyant melody, this number is a great acoustic pop workout, underpinned by a ‘Strawberry Fields Forever’ inspired mellotron accompaniment.  Looking beyond the sugary, happy melodies, Kline takes on the role of untrustworthy narrator, delivering the song’s brilliant kick in the teeth via a lyric that forewarns of Carol Ann’s bad streak.

Although the songs are deeply personal and rather candid, ‘Cabin Fever Songs’ is an underwhelming beast at times.  If you’re a listener who values tunes over lyrical content, the relative lack of variety within this album may become quickly apparent…and it probably wasn’t meant for you anyway.  Long standing fans may find some of the songs are in danger of sounding a little unfinished, but if this is the case, don’t worry too much; as Kline says himself of ‘Cabin Fever Songs’: “It might not be for everyone…it may even be a letdown to some”.

If after a few plays you’re still listening, feeling there’s something here, but still finding yourself looking for that moment where everything clicks, try thinking of this as a collection of songs instead of a fully formed “album”.  At first, avoid listening from end to end:  dip in and out and it works far better.  If, after that, you’re still not convinced, just remember one thing:  Justin doesn’t necessarily care if we like these songs or not, they just needed to shared.  Sharing one’s art can be a wobbly experience, but the stark honesty and cathartic edge at the heart of these ‘Cabin Fever Songs’ may appeal to some.

Listen via the widget below and send Justin a few bucks if you can.

August 2012

REDLINE – Vice

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Redline’s 2012 album ‘Vice’ is rooted firmly in the old school.  On this release, the Brummie five piece band have not just settled for a little retro – they’ve chosen all out, old fashioned 80s metal as their core sound.  The first song rips from the speakers with attitude, powered by the kind of riffs that would make their fore fathers very proud.

Within ‘Battle Cry’s opening two lines, vocalist Kez Taylor delivers lyrics which mention both “Running with the devil” and “the reaper” as if no time has passed since the days of Sounds Magazine and the New Wave of British Heavy Metal; its chorus (“Time to do or die / Shout the battle cry!”) fits the mood well with its brazen cheesiness.  The heavy staccato riffs show no sign of abating over the course of three minutes and taking in a fierce lead guitar break en route, Redline sets their musical manifesto out for all to see.  By the track’s end, you’ll either find yourself going with Redline for the (leather clad, motorbikes and demons obsessed) ride, or you be moving swiftly along…

‘King of the Mountain’ follows suit with a similar twin guitar attack.  No surprises from a band called Redline, this tune is celebration of heavy horse-powered two-wheeled greatness and comes with hi-octane riffs to suit the subject matter.  A number adopted as the official theme for the Isle of Man TT Races in 2009, on this particular track, Kez offers huge vocal (with some equally huge screaming notes on occasion) and the rest of the band sounds nice and tight.  The only weak point here is the one line chorus; considering the band loves motorcycles so much, it’s a pity that repeating “King of the mountain” ad nauseum was the best they could manage.   A second ode to the motorbike and open road, ‘No Limits’ is far better: a pumping bass lays the foundations for a fist-clenched slab of metal which recalls classic tunes by Saxon and their ilk.  Unlike some early Saxon tunes, bassist Redvers manages more here than a pounding open E, but all the same, ‘No Limits’ doesn’t pretend to be flashy.  With squealing guitars, full throttle riffing and a much better chorus, this pure and simple approach typifies the kind of tunes that would have placed Redline at the forefront of the studs-and-leather dominated scene had they been doing this three decades earlier.

‘The Edge of Falling’ and ‘Some Kinda Mean’ are numbers on which the band branches out a little farther, opting for a slightly more melodic edge.  ‘On The Edge’ is particularly enjoyable with its mix of acoustic and electric guitars; the punchy mid paced rock is slightly reminiscent of early Dokken and shiny backing vocals lend more of an American feel.  At the heart of it all, though, the guitars reign supreme and an old-school lead guitar break tops things off nicely.  ‘Some Kinda Mean’ has a riff which isn’t too far removed from something Glenn Tipton would have penned for Judas Priest circa ’84 and as such has a hugely classic sound.  Taylor, meanwhile, takes each line in his stride – his big voice an equal match for the riffs.  As with ‘King of the Mountain’, a one line chorus lets the side down a little, but everything else here is more than solid.

Interestingly, ‘Vice’s weakest track is ‘Cold Silence’ – and it is possibly no coincidence that the potential missteps happen during Redline’s only attempt at lightening up.  This particular track is an overwrought power ballad, at first led by piano and strings (arranged by Slade’s Jim Lea).  It’s wonderfully orchestrated, but that doesn’t stop its first half sounding like a poor man’s equivalent to a Queensryche ballad.  During the second half, things rock up somewhat.  The combination of strings and a well played lead guitar improves things considerably, while drummer Mark Biddiscombe also puts in a rock-hard performance.

Let’s not beat about the bush here: ‘Vice’ is uncool.  Not uncool in such a way that could be considered cool, just uncool.  However, it cannot be denied that Redline are great musicians and in Kez Taylor the band possesses a powerful vocalist with some serious old-school chops.  If you don’t care about fashion and want a metal album that hits you in the kind of way those old vinyl LPs did back in ’81, then this record is definitely for you.

September 2012

THE RATBOYS – Are Stupid Brats EP

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Recorded in just three days, Belgian garage rock/pop punk band The Ratboys’ full-length debut ‘Cash, Gas and Trash’ was a low budget romp that packed twelve songs into approximately half an hour. Capturing a balance of 60s twang and garage ethic, dished up with an enjoyable punky sneer and farfisa organs, it was destined to gain a cult audience.

Their 2012 record ‘The Ratboys…Are Stupid Brats’ follows a similar blueprint, it’s four songs sharing a love of old rock ‘n’ roll records, Jonathan Richman, Joey Ramone and The Real Kids.  It has a key difference, however:  a notable lack of farfisa sounds!  Those were almost pivotal to the debut, and their absence here has the odd knock on effect of making ‘…Are Stupid Brats’ sound rather more thrown together and even lower budget than need be.

For all of its self-proclaimed trashiness, ‘Cash, Gas and Trash’ actually had some very audible bass parts.  On this EP, we aren’t always given such luxury.  Bassist Ratboy Vince is there, but never as distinctly as he deserves to be, since throughout these four tunes, Ratboy Manu and Ratboy Ricky’s guitars dominate.  The lack of warmth all round works best on ‘Stupid Brats’; their slightly slapdash playing giving a sense of urgency to the tune, while Ricky delivers a simple chorus hook straight out of the Joey Ramone school of dumb fun. With plenty of repetition, it’s reminiscent of Ramones, The Dead Boys and other CBGB trash from ’77 and even with a European vocal slant, it’s a good example of brainless punk song writing that really works.

A guitar part heavily inspired by The Real Kids’ ‘She’s Alright’ initially promises great things for ‘School Bus Driver’.  Despite initial excitement, the track descends into fairly run of the mill garagey sounding punk-pop that even an upbeat guitar break never quite rescues.  On this and the following ‘Rock N Roll Vacation’, Ricky’s vocal style is wobblier than ever before, and he even appears slightly unsure when tackling any longer notes.  But even his vocal instability isn’t quite as bad as the ensuing fiery rock ‘n’ roll solo, which has a generally sloppy air and contains enough missed notes that even Paul Westerberg would baulk.   ‘Bangkok Action’ has a sharper lead riff and a louder/stronger bass part, a few gang vocals and a much better guitar solo, meaning it has plenty of potential all round.  Attempts to stretch it over a minute longer than necessary weaken its overall impact, but it is enjoyable enough in its bubblegum pop/punk approach.  Let’s just say – like a couple of these other songs – the ideas are solid even if the general fidelity and performances are a tad lacking.  In short, if US surf/pop punks The Queers got their hands on this track, it would sound absolutely terrific.

Although in the scheme of second outings, ‘…Are Stupid Brats’ was never likely to equal Ramones ‘Leave Home’ in terms of brilliance, it should have still been a little better than it is. The minimal running time means it is still possibly worth checking out, but since nothing here matches the standards set on the debut, it is best not to set your expectations too high.  Without the farfisa organs that previously gave The Ratboys a more distinctive sound (and a sense of retro cool) they no longer stand out from the pack in the way that they could.

[You can stream or download ‘…Are Stupid Brats’ via the player below.  You can also check out ‘Cash, Gas & Trash’ by clicking here]

September 2012

STEVE HARRIS – British Lion

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Steve Harris’s place in the rock history books is more than secure.  As founder and driving force behind Iron Maiden, he has written more classic hard rock/melodic metal songs than most.  With that in mind, it is a pity that about seventy percent of his solo debut ‘British Lion’ fails to raise above mediocre.  With a bunch of previously unknown musicians in tow – including a couple of guys he mentored back in the nineties – this first outing under his own name is, frankly, not worth making a fuss about.   …And indeed, had ‘British Lion’ been the debut from a hitherto unknown band, EMI wouldn’t have given it the time of day.

The opening number ‘This Is My God’ has a strong musical foundation with an old-fashioned classic rock riff, slightly bluesy and heavy on the wah-wah.  As predicted, and somewhat comforting, Harris’s bass is quite high in the mix, and although he’s not tempted to launch into his trademark gallop, his rattling bass strings are more than audible.  Beyond that, there are some serious flaws: Simon Dawson’s drums don’t come with anywhere near the amount of oomph such music requires, while throughout the track – and most of the rest of the LP – vocalist Richard Taylor feebly delivers his lines in a manner which is best likened to any number of unprofessional pub rock vocalists.

Moving on, as the second track ‘Lost Worlds’ finds its feet, it becomes apparent that ‘British Lion’s second biggest fault is its overall mix.  Engineer Kevin Shirley (much beloved by many fans of classic rock) has given the album a very fudgy, almost woolly sound – similar to the mix he gave Joe Bonamassa’s ‘Black Rock’ – and as a result, there’s no real punch; just rumbling fuzziness with Harris’s bass leading the way and Taylor whining a bit. ‘Karma Killer’ is clearer, thanks to some top end on the lead guitars, but it still carries the general mood of a demo recording, far removed from the kind of perfection you’d associate with a member of one of the world’s best-loved metal bands.  On the plus side, during the verses of this number, Harris’s basslines are terrific.  Such a pity he or his chosen band couldn’t back them up with anything else vaguely memorable.

…And so, on goes the catalogue of disasters: ‘Judas’ is meat-headed rock where Richard Taylor’s vocals get swamped in a mulch of bass, while ‘Us Against The World’ has the charm of a poorly performed, poorly recorded Maiden reject with all the (lacking) fidelity range of Strangeways’ ‘Perfect World’. These Are the Hands’, meanwhile, is dirgy mid-paced affair that sounds like a second rate alt-rock band trying their hand at something in the classic rock genre.  Possibly worse, ‘The Lesson’ is a piano and strings power ballad that could have been good, but without a hook of any sort and a vocalist that’s hopelessly out of his depth, it represents the kind of tune that you’re not likely to return to after the first couple of cursory listens.

Although most of ‘British Lion’ hovers between average and terrible, there are three enjoyable tunes included – and it is probably not a coincidence that these aren’t of the dirgy hard rock style which forms a large proportion of the album. The upbeat ‘The Chosen Ones’ offers a  reasonable chorus, some nifty lead bass work and some pleasing ringing leads.  The strong AOR influence is very welcome, as is the brief moment of twin lead guitar evoking UFO, thus paying tribute to one of Harris’s favourite bands.  At six and a half minutes it is a little on the long side for such frivolous melodic rock, but there are some enjoyable moments en route.  ‘Eyes of the Young’, is a crisp sounding affair – again influenced by AOR.  Between a pumping bass and lovely clean-toned guitars, even Taylor sounds better, though his slightly flat delivery still struggles a little, especially with the bigger notes on the chorus.  ‘British Lion’ desperately needs more upbeat, shiny material such as this, but even then, this has the makings of a tune that would have been a hundred times better, if only Harris had Adrian Smith on hand to help make the hook bigger.  As history has proven with material such as ‘Wasted Years’, Smith is a dab hand at an AOR chorus.  More melodic rock fist pumping drives ‘A World Without Heaven’, a well-rounded tune with some enjoyable staccato guitar lines and classic sounding twin leads.  While it had the potential to be as strong as those AOR influenced numbers previously mentioned, it eventually winds up the weakest of the three due to Harris’s ability to over-egg the pudding.  At just over seven minutes, this would have been far superior clocking in at just over half that time.

Prior to the release, fans expected something delving further into progressive rock, but Harris quickly stated that ‘British Lion’ was to be  more in keeping with classic seventies rock, with influences from UFO et al.  Those three more melodic numbers aside, this is all too half-arsed and muddy to be considered in the same league as any classic rock fare, seventies or otherwise.   If this were a demo by an unknown band it would show a little promise, perhaps, but from a musician of Harris’s calibre, it is mostly forgettable.  ‘British Lion’ is one for the obsessive Maiden completists only.

September 2012

SKUNK ANANSIE – Black Traffic

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Returning after an eight year hiatus, Skunk Anansie had to ensure their comeback album was absolutely stellar.  The resulting release ‘Wonderlustre’ did not disappoint; in fact, it was a career highpoint for the British band.

Debut releases – or in the case of Skunk, a record breaking a long absence – allow plenty of time for a band to guarantee they have a collection of first-rate songs to make up the record.  Follow ups are usually created in a fraction of the time, with the label breathing down the band’s collective neck to deliver the goods, while an established fan-base clamours for more.  …And so it is with ‘Black Traffic’.   While it is Skunk Anansie’s fifth album overall, in places, it has a slightly weaker feel, typically associated with a sophomore release.   There are some fantastic tunes, but as a whole, it lacks the consistency of its immediate predecessor, largely thanks to a few aggressive alternative rock/pseudo metal offerings where the band sounds like they’re just trying far too hard.  While these sound better after being allowed time enough to sink in, SA always sounded stronger – classier, even – when delivering more pop-based material…

The band chooses to open this record with two of those unsubtle rockers in order to make an impression.  Both ‘I Will Break You’ and ‘Sad Sad Sad’ are delivered with metallic riffs at reasonably high speed.  Listeners who enjoyed the harder edge present on the band’s earlier works will likely get a kick out of these, since they hit harder than anything SA has recorded previously.  For other listeners looking for the kind of sophistication that made ‘Wonderlustre’ one of 2010’s best albums, these tracks will be disposable.  Of particular difficulty is Skin’s deliberately confrontational and harsh vocal performance on album opener ‘I Will Break You’.  While she has a superb vocal range and an undeniable presence, on this particular number she squeals to the max, initially sounding quite edgy, but quickly sounding too much like hard work.  On ‘Sad Sad Sad’, her voice is much more palatable, but despite a good performance and some solid hard rock riffs combined with electronic drum loops creating a reasonable enough backing, bog standard song writing on the chorus [chiefly rhyming sad x3 with bad x3] really lets things down.  It’s worth bearing in mind, though, that while both these tunes are a little grating on record, they have all the hallmarks of the kind of numbers that make killer live performances.

Blending string sounds, a programmed drum and a soft bassline, ‘I Hope You Get to Meet Your Hero’ is one of ‘Black Traffic’s high points.  Skin’s vocal is full of longing, as she cries out every word.  While her full range is undeniably superb, it is on softer numbers such as this where she sounds at her best – the softer notes allow her screaming top end to have a much greater impact, and since she uses that top end sparingly here, the impact it has when it eventually appears is nothing short of wonderful.  The album’s first single, ‘I Believed In You’ is a little harder, with Ace’s rhythm guitar acting as the driving force.  As the chorus hits, drummer Mark Richardson gets to cut loose on a part far more groove laden than many of this album’s cuts – and it’s good to hear a real drum too, since ‘Black Traffic’ is heavily reliant on programmed rhythms.  Lyrically, the accessible and buoyant tune is given some real bite via its bitter lyric; specifically the line “do me a favour, go and slit your skinny throat and let the blood flow freely so all you boys can choke”.  Overall, while this melodic rock tune with slight alternative leanings could be written off as “Skunk Anansie by numbers”, the band are certainly playing to their strengths.

Most of ‘Black Traffic’s strongest numbers can be found nestled on the second half, and they are tunes that, again, highlight the band’s softer side.  The poppy ‘Our Summer Kills The Sun’ ranks among Skunk Anansie’s best ever songs, thanks to a sophisticated, radio friendly mix of electronic beats, ringing guitars and a hushed, almost questioning vocal.  By the time it all blooms into a simple hook full of harmonious, multi tracked voices, it’s one of a couple of tracks that could stand up to most of ‘Wonderlustre’.

‘This Is Not a Game’ aims for a huge, epic sound. The basic tune works around a classic quietLOUDquiet structure, where the verses are soft and (again) very electronic, while the chorus features some louder, chiming guitars. The combination of guitar and strings during the chorus provides one of ‘Black Traffic’s most enjoyable moments on a musical level, but Skin’s voice is absolutely awesome throughout.  Moving between a soulful cry and full on rock belt, this particular performance could raise neck hairs.  Although at first, ‘Drowning’ sounds a little empty and over-mechanical, later listens uncover the makings of a solid pop tune.  A mix of drum beats and strings during the second half creates something hugely radio friendly, while Ace’s understated guitar lines add depth.  An overly simple chorus actually makes ‘Sad Sad Sad’ sound like first rate song writing, but this can ultimately be forgiven since everything else is so well put together.

With an instant familiarity, the album’s closer ‘Diving Down’ sounds as if it could be a ‘Wonderlustre’ leftover.  As with ‘I Believed In You’, the sturdy pop/rock here adds nothing new, but it’s certainly just as enjoyable as any other similar recordings from Skunk’s back catalogue.  It is a guaranteed fan favourite – strong enough to help sweep away the memories of ‘Black Traffic’s less enjoyable numbers.   Opening with two of the album’s rockers and closing with this hugely emotional tune, if nothing else, it proves that somebody within the Skunk Anansie camp knows the power and importance behind sequencing an album for maximum impact.

‘Black Traffic’ would be a fantastic record by most people’s standards, but measured by a couple of Skunk’s previous outings, it could have been better.  Put in context, it’s not anywhere near as good as ‘Wonderlustre’, although it’s best tunes as good as the best ‘Post Orgasmic Chill’ had to offer.  Its brilliant moments piss on most of ‘Stoosh’, but that is to be expected from a band far more mature in both talent and years.  While devoted fans will love ‘Black Traffic’ from the off, those other listeners who enjoy the more restrained parts of Skunk Anansie’s music – ‘Wonderlustre’ in particular – may find this album more of a challenge.

September 2012