Category Archives: Album & EP Reviews

JOSHUA KETCHMARK – The Dreamers Disease EP

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In March 2012, singer songwriter Joshua Ketchmark released ‘The Bittersweet’, the first of a proposed trilogy of EPs.  Produced by Denny Smith, the release showed off Ketchmark’s abilities to lay down enjoyable hook-laden tunes in a radio-friendly pop-rock style.  His second EP, ‘The Dreamers Disease’, again focuses on hook-laden tunes, but is by no means just a retread of the previous release.  Smith’s place in the producer’s chair this time around has been taken by Kenny Wright (also of The Great Affairs) and Ketchmark’s decision to bring in a handful of alt-country session guys means these four songs are sometimes presented with more of a rootsy/country rock groove.

‘Step Back’ combines a country rock ethic with the presence of a power-ballad. The verses are structured around acoustic guitar lines, over which Ketchmark appears in rather fine vocal form.  For the chorus, things shift up several gears as heartfelt song writing comes blended with a stadium rock intensity.  All the while, the country-rock elements never seem too far away, with a steel guitar (played by Tony Paoletta) lurking in the background.  ‘It Should Have Been More’ – a roots-rock arrangement again augmented by steel guitars – is the EP’s strongest offering, and while the arrangement at first sounds relatively simple, closer listens reveal some great touches mandolin, (courtesy of Bonepony man Nicolas Nguyen).  While the lyrical themes of regret are well worn, Ketchmark really excels vocally – an absolutely first rate performance.  Musically, it could be described as Bon Jovi (circa ‘Endless Highway’) as played by Ryan Adams & The Cardinals in a tough mood.  Although such a flippant description does not really do this track justice, keeping that in mind, you should at least get a hint of what to expect.

The EP’s “odd man out”, ‘Mission Jar’ is far more aggressive.  Although it doesn’t quite fit the alternative rock moods of Ketchmark’s previous EP, it doesn’t really have a comfortable place here either.  The rhythm guitars lay down a scratchy tune, angular but not quite settling into the funk groove it half-promises, while the lead guitars are surprisingly upfront.  It is an interesting number on which Ketchmark sounds vocally cool, but it is a tune which, maybe, ought to have been left on the shelf until a more fitting home became available…  The single release ‘Saving Grace’ is a slice of upbeat pop/rock on which the blend of acoustic and electric guitars meshing well, while some old-school organ (played by Lynyrd Skynyrd’s Peter Keys) recalls The Wallflowers. A slight mood change for a big chorus leans more toward a New Jersey sound and, after a couple of spins, it is so obvious why this was chosen as the lead track. Its goodtime, optimistic qualities and another strong melody makes it ideal for radio.

Those who enjoyed ‘The Bittersweet’ EP and Joshua Ketchmark’s previous releases may find ‘The Dreamers Disease’ a little less instant, but once again, his gift for song writing often wins out.  The EP’s two strongest tracks (the wonderful ‘Should Have Been More’ and ‘Step Back’) are enough to recommend this release…and if you dig those, that could just enough to make you wish this had been a full-length disc exploring similar styles.

June 2012

THE MOTHERSHIP – Ten Miles Wide

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The Mothership is a four-piece alternative rock/grunge band from Seattle.  In March 2011, they released a debut three song EP.  That gave a reasonable taster of The Mothership’s sound, but this full length  released just six months later,  allows the band a longer – if not always broader – canvas on which to show off their talents.

The general mood of the record is quickly apparent once ‘Songbird’ kicks in.  After a slow intro peppered by trumpet, the band launches into a piece of chunky alternative rock, which could best be described as something from ‘Superunknown’-era Soundgarden if it were reworked by Joshua Homme.  The ominous pace captures the spirit of all that was great about Seattle in the 90s, but while it comes with an undeniably plodding approach, it never actually feels leaden at all. While the band sounds relatively weighty in their delivery, the DIY production is good enough to make ‘Ten Miles Wide’ sound finished, but not too shiny – which obviously, is just right for The Mothership’s chosen subgenre.  The “heavy but never leaden” feel applies to most of The Mothership’s best work; their arrangements often appear to move along rather briskly despite often being hugely riff heavy.  [As proved by Soundgarden’s second album ‘Louder Than Love’, it is easy enough to make a heavy record, but much harder to make such heaviness remain buoyant.  For the most part, that album sounded like a dragging dirge in the early 90s, and time has not improved things.  For a band whom would later prove themselves masters of their art, it has to be wondered how that 1989 outing went so horribly wrong. The Mothership’s work has no such problems here.]

‘The Plank’ comes in with another meaty riff, mixing typical Seattle-isms with a more groove-laden approach.  The twin guitars of John Beckman and Paul Fraser aren’t always subtle, but an occasional melody played in a higher key provides a great musical touch.  ‘No Minor’ allows drummer Will Andrews to lay down a slightly more complex rhythm, while a dual vocal is delivered with a 90s sneer.  Despite the lack of instant hook, there’s enough attitude here to grab the listener, recalling early Soundgarden and a few of their peers.  Those influences pulled from classic grunge should provide enough plaid-shirted thrills to those who still love early 90s (then) alternative music.

The more typical alt-rock styles take a rest during ‘Knifey Spooney’, as the band trade in their preferred approach for something much funkier.  A choppy guitar riff melds with a fluid bassline as the band tinker with something bordering on jam-band territory.  While there’s a dose of funk here that’s occasionally peppered with a slight Latin-eque mood, it’s not as if the band has suddenly started to channel Dave Matthews or Stephen Stills’ Manassas… There remains a strong alt-rock edge to the rhythm guitar and basslines, while Beckman’s vocal still retains enough ragged qualities to remind the listener of the truest roots of The Mothership’s music.

The acoustic blues-rock which begins ‘Ugly Love’ owes a huge debt to The Screaming Trees – perhaps more specifically Mark Lanegan’s solo debut ‘The Winding Sheet’ – with more obviously laid back qualities.  Echoing electric guitar parts cutting between the woozy vocals are a great flourish and in turn have an equally fantastic sound.  Things turn full electric for the choruses, when The Mothership sounds as if they’re embarking on their own Desert Session.  In all, this track is superb – without doubt, ‘Ten Miles Wide’s finest moment.  Similarly, the acoustic based ‘Burn Pile’ aims for atmospheres over bombast, allowing the vocal to carry most of the tune.  Extra atmosphere comes via a few swirly reverb sounds, making this downbeat number the ideal way to wind things down after the maximum rock posturing elsewhere.

There are three or four genuinely excellent songs found within ‘Ten Miles Wide’s twelve cuts, and a few more really solid offerings (with no outright duds).   Joining a whole barrage of bands keen to revisit alternative music of the early 90s, The Mothership’s first full length may often sound a tad predictable, but for those willing to spare the time, it should be a mostly enjoyable ride.

June 2012

A VITAL MESSAGE – Distances EP

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By blending the best elements of Bullet For My Valentine, All That Remains and Shadows Fall with the kind of very commercial choruses championed by Killswitch Engage, this Florida metalcore/post-hardcore based band may not sound wholly original, but there’s no escaping that, in places, A Vital Message manage to push all the right buttons on their 2011 EP.

The strength of this EP isn’t immediately obvious, however, since opening the number attempts to fit too much into a four minute package. After a melody filled intro featuring a simple guitar riff played over some solid pneumatic drums, the first half of ‘The Blind’ favours djent-edged riffs, leading to an all round preference for heaviness over anything else. As is often the case with metalcore, the chorus eschews growling voices for a studio treated clean vocal. This provides a nice contrast (as expected) but that chorus isn’t quite as strong as it could have been – any melodies are still being somewhat pummelled by the heavy riffs. The riffs are cool enough, but there’s a sense that A Vital Message are capable of more. Luckily, during the track’s second half, things definitely improve. A brief instrumental break lightens the mood near at the tracks end; the second part of which capitalises on the melodies hinted at in the intro and the clean guitars ring out wonderfully, in a style that hints at a more progressive metal stance. And then, just as the tune begins to pull the listener in…it ends. Don’t be fooled, though: this is by no means a bad opening statement – the musicians here are as tight as any of those working in a similar field, it just leaves a nagging feeling that the chorus could have been more instant and so much more should have been made of that intro and coda.

In terms of aggression, ‘Who Are You’ fares better all round, since the gulf between sledgehammer riffs and melodies is far wider. During the verses, Jon Jordan adopts a full-on throatiness in his delivery, one to match any number of hardcore punk or metal bands. As he offers the thought “are you running, you should be fucking scared” over a mid-paced, pounding riff, the intensity is such you’d have a hard job to argue with him. The fastest riffing, again, has much in common with the djent community and the chorus adds a more melodic bent, full of clean vocals and an emo-ish anxiety. Unlike ‘The Blind’, this chorus really shines – so much so, it’s hard to believe these guys weren’t snapped up by a major label for this release.

‘If It’s Legal It’s On Camera’ starts with a great intro, combining more clean-toned guitar lines and a slower djent-filled metallic riff. There’s a brief moment where Jordan teases by throwing in a dirty, dirty growl in the melodic death metal vein, but this never fully develops; it merely serves as a bridge into the song’s first verse. While this doesn’t offer anything markedly different from ‘Who Are You’, it’s worth keeping a keen ear, as complex guitar parts busy away incessantly – almost throughout the entire number – and these parts (again, borrowing influence from more math metal/progressive metal influences) provide a superb counterpart to the more in-your-face elements. The chorus follows a similar structure to that of ‘Who You Are’, whereby the studio-treated vocals bring a strong sense of melody and commercial edge to another otherwise sledgehammer riff. Although each of these EP tracks have their own strengths and weaknesses, this number is almost perfect. If you want to experience A Vital Message at their absolute best, this is the best entry point.

The closing track, ‘2009’, presents a slight musical curveball. While the heavy riffing and drum pedals are present and correct in places, the band shifts from their usual metalcore sound into a much punkier territory, and increases their use of clean vocals (more so than even on the other numbers, reinforced by a second clean voice courtesy of Ashley Loyd). It couldn’t ever be described as throwaway, but there’s certainly a more fun air here. A Vital Message still sound like a strong outfit here, but musically it’s nowhere near as insistent as this band are capable of being.

When A Vital Message get it right, the combination of great musicianship and faultless production (so good that other DIY bands should take note) is definitely worthy of much bigger things. Those who don’t dig any of the bands mentioned here are unlikely to be swayed, but metalcore fans really ought to check this out. ‘If It’s Legal…’ is worth the time alone.

February/March 2012

OXYGEN – Final Warning

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Swedish vocalist Tony Niva’s career got off to a slow start.  His first band Zanity recorded a demo which ultimately gathered no interest.  The following year, he collaborated with cult glam metal band Swedish Erotica [a wholly second division band whose 1989 debut contained one bright spark in the rather silly ‘Welcome To Rock ‘n’ Roll City’].   Following brief stints with more local bands with truly bad monikers, by the mid 90s, Niva was fronting his own eponymously titled band, which yielded one full length LP – 1994’s Japanese only release ‘No Capitulation’.  In 2011, Niva (the band) released second album, the appallingly titled ‘Gold From The Future’, a disc which, once again, failed to get a release outside of Japan.

In 2012, Tony reappeared as the frontman of yet another new band, Oxygen.   Oxygen’s debut release ‘Final Warning’ (released in the summer of 2012) may have been touted as a new release, but in fact, is just a repackaged version of ‘Gold From The Future’ aimed at the UK/European market.  Since few people actually heard ‘Gold’ the first time around, such a rebranding isn’t entirely unreasonable, and the Oxygen name fits much better with the album’s recurring environmental themes.

Kicking off with the mid-paced rock of ‘Janitor of Love’ (surely a mistake in translation), the band sound relatively tough – the guitars have a reasonable crunch (at least to begin with), and Niva’s vocals are very assured.  By the track’s end, though, it becomes obvious there’s something that’s not entirely right: the guitars step back and slowly become a mush that’s almost barely audible behind a vocal that’s just far, far, too loud.  Yes, vocalists provide an important role in most rock bands, but here, Niva’s Tony Harnell-esque wailing seems to come at the expense of almost everything else.  If you can make it past that (and stop laughing at the bad title), this track actually makes for a reasonable opener, with melodic hooks and a technically sound guitar solo.   ‘Anything For You’ with its hard, punchy rhythm, augmented by a strong chorus with more harmonies than before continues things in a similar vein, but much better still is ‘When Tomorrow Never Comes’, which, despite plundering a whole world of predictable clichéd sounds, manages to achieve excellent results.  Strong vocals, great chorus and a killer guitar solo push the right buttons, and while (once again) the vocal could do with softening, the band sound like they’re really getting off on what they do.

While those first few tracks show promise (at least in terms of simple melodic rock chops, if not studio engineering and suchlike), it’s not long before Niva’s voice becomes far too overbearing.  With each passing song, he just seems to get louder.  There’s no denying there is power in his delivery, but like TNT’s Tony Harnell or Shy’s Tony Mills [hey, this must be an affliction that affects people called Tony!] he’d sound so much better if he could just reign it in.  ‘Gold From The Future’, in particular, is so vocally over the top, it almost sounds like he taking the piss.  There are some painful high registers here, which when combined with muddy keyboards and a whole world of Scandinavian pomp, doesn’t make for a pleasant listening experience at all.  Similarly, the title cut features Niva going all-out vocally, while he’s backed by various shreddy guitar moments  and despite the band’s best efforts to temper these with a far more AOR-friendly chorus, it’s not enough to stop everything sounding like a dense and forgettable four minutes.

In theory, ‘Final Warning’ has all the makings of a really enjoyable melodic rock disc:  The band clearly know how to pen a melodic chorus and Roger Ljunggren’s lead guitar work is mostly spot on.  However, in reality, that voice is very much a love it/hate it affair. As a result, despite being only just over half an hour long, this disc is very hard to listen to all the way through in one sitting…and for something aimed at the melodic rock crowd, that’s not really ideal.

June 2012

FIRES – Echo Sounds EP

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FiresThis second EP by alternative rock duo Fires is possibly one of the finest sounding self-released discs you’ll ever hear.  Producer J. Robbins (noted for his performances with Jawbox and hardcore punks Government Issue and production work with post-punk/alternative bands Jets To Brazil and Jawbreaker) brings out the absolute best in this band during every second of these five performances.  With a sound worthy of any major label release, the guitars are ringing and sharp, while the bass has an almost equal share in the end mix, adding a meaty bottom end.  Put simply, there is nothing about this release you’d ever guess was DIY.

Of course, it takes more than a good producer/engineer to create an enjoyable record, and luckily, Fires’ material has the balls to match. They not only have the weight behind their arrangements, but also a great sense of atmosphere and melody lurking within.  Listening to the angular rhythms of ‘Sent’, it’s hard not to think of so many great nineties alternative records, but in 2012, Fires’ approach sounds more than a mere throwback – they manage to make their brand of post-hardcore sound vital.  The bass takes the lead with a big sound and during the chorus sections, the guitars have an equally full presence and the use of occasional ringing leads adds a flourish that’s unfussy, but ultimately necessary.  Danny Nicolletto’s vocals may be an acquired taste for some; his lead voice is rather high – slightly reminiscent of those from cult alternative band Tubelord – but it’s a style which works for him and a style which suits this particular track well.  ‘Execute’ is much harder musically, with slightly discordant guitar chords providing the intro.  Once the rest of the instruments pull together for the chorus, things appear more settled.  Overall, a hugely energised three minutes, made even better by James Scott’s immense bass sound during the second verse.

‘Blackout’ and ‘Blood on Black’ both highlight more alternative rock chops (both enjoyable and superbly played), but it’s ‘Amour’ which stands alongside ‘Sent’ as this EPs most striking tune. Showcasing Fires’ softer side, the guitars settle into a simple tune constructed of clean toned notes – the kind favoured by Slint, usually before throwing themselves headlong into a world of sludge – while the vocals and understated drumming conjure up a somewhat ghostly atmosphere.  The louder sections allow room for another warm bass part, and although you’ll undoubtedly expect it all to somehow reach that seemingly inevitable noisy climax, against the odds, it never does.  While it could be seen as a dramatic shift from Fires’ usual sounds, it’s no less enjoyable once you tune in.

The excitement and sheer class delivered by ‘Echo Sounds’ is almost equal to Jawbox’s  1996 self-titled disc and Sense Field’s ‘Killed For Less’ and ‘Building’ releases – three discs from which Fires appear to pull influence without ever sounding like clones.   It may be short, but it’s a disc not to be missed.

June 2012