Category Archives: Album & EP Reviews

DEPARTURE – Hitch A Ride

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Led by multi instrumentalist Mike Walsh, Departure released a couple of reasonable records via Escape Music in the late 90s/early 00’s.  Following the release of 2001’s ‘Corporate Wheel’, the band went on hiatus for a decade. During that long period of radio silence, AOR fans have had plenty of other melodic rock discs tickle their fancy, though it is doubtless that those who enjoyed Departure previously will welcome their 2012 comeback disc with open arms. With only Walsh and drummer Duey Ribestello the only mainstays throughout the band’s career, Departure may have suffered a little from instability, but Walsh’s guitar sound is what previously gave the band most of their heart, and ‘Hitch a Ride’ is no exception.

On this fourth outing, the vocalist’s spot is filled by Andi Kravjaca, best known for his work with Swedish progressive metal outfit Silent Call.  While Kravjaca is a great performer (his work with his regular band is well worth investigating), he is not always a great fit for Departure.  Walsh’s compositions occasionally hint at old fashioned US melodic rock and yet, the presence of Kravjaca gives things a distinctly Scandinavian feel…so much so, that (for most) this could pass for any number of Scandinavian hard rock discs released after 2001 by Escape Music or the like.

So, on the surface, the guitar work is often decent and the vocals have a Scandi tinge – making this particularly run of the mill for the Escape stable – but looking deeper, does ‘Hitch a Ride’ have much to recommend it?  Based on the first track, the answer would be “not really”, since ‘No Where To Go’ [sic] sounds incredibly thin: so thin, in fact, the bass and drum parts could pass for being programmed.  For a supposedly “finished album”, this sounds like another product from AOR demo city.  The song itself is okay, but not really up to the gold standard we should expect for something given pride of place as an opener.   Although there are two or three tracks which are performed far, far better, from a sonic perspective, rather sadly, things don’t really get much better for this release.  The production (also handled by Walsh) and mix (courtesy of Escape Music studio regular Martin Kronlund) just has no warmth.  Even played through a good amp and speakers, you’ll really have to strain your ears to hear any bottom end.

The best track, ‘This Is My Time’ has a jaunty pop/rock quality, with a hint of pomp provided by organ; AOR fans will take a shine to some pleasing twin lead guitar work, a big chorus and bags of melody.  Each of the band members offers their best performances to make this an enjoyable four minutes in an almost Boston-esque way.  If only they’d turned the bass up and made it sound more professional (and more inviting…); as good as this track may be, the lack of warmth within the recording is a massive, massive drawback.  ‘Travel Through Time’ delivers old school rock vibes via a punchy rhythm.  While the trebly sound may grate, yet again, it’s here that Kravjaca is able to show off his vocal talents.  While he may not always sound like the perfect voice for Departure, on this particular track, his accented voice sounds relatively powerful against some decent guitar chops.  ‘Outside Looking In’ also can be picked as another high point: here, you’ll hear another good hard rock vocal, the required amounts of melody and harmony befitting of AOR/MRM and a mid section providing an enjoyable instrumental break devoted to a guitar/keyboard duel.  With best foot forward musically, it is a great pity, therefore, things couldn’t be stretched beyond a one-line chorus.

While a couple of the uptempo numbers are enjoyable on their own merits – provided you can accept the limitations of this release – the two big power ballads really aren’t anything to get excited about.  Any AOR/melodic rock fan knows that the power ballad often provides a high spot for many classic releases; unfortunately, Departure’s couple of efforts really are “efforts”.  On ‘Fly’, the vocals are slightly overdone to the point of becoming an irritant, but even then, they don’t manage to damage this track as much as the overly loud keyboard which swamps everything.  The acoustic ‘Without You’ occasionally threatens to become a poor man’s version of Bon Jovi’s ‘Bed of Roses’ via a familiar vocal melody, but ultimately doesn’t appeal.  The chorus raises the bar in the way you’d expect, Walsh’s guitar fills provide a few nice flourishes, but it’s not enough to get this bloated vehicle soaring in quite the way it needs to.  After one or two spins, the overwrought nature of the whole affair begins to have even less appeal than it did to begin with.

Given that Walsh has had long enough to create a potential cult classic – maybe even a melodic rock masterpiece – ‘Hitch a Ride’ is not anywhere near as good as it could have been.  Still, lack of bottom end aside, what we have here is a competent AOR record in lots of ways: the playing is mostly fine enough, and the tunes are catchy enough in places; but there is an overriding vibe of “another album off the AOR production line” and “that’ll do for now”.  For some, this will indeed fill a musical hole, but why settle for something this ordinary after a ten year wait?

May 2012

CODEX LEICESTER – A Mad Man’s Lullaby EP

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Without any kind of pre-amble, Codex Leicester use ‘Strong Like Bull’ to begin their debut EP at maximum ferocity.  A mix of distorted rhythms and jangling Wedding Present-esque guitars lay down a great foundation while gang vocals shout a simple refrain before everything collides in a colossal wall of sound.  And then, it stops suddenly, having shaken the listener.  As the musical equivalent of entering a meeting unannounced and then shouting repeatedly before making a swift exit, this track is a resounding success – assuming, that is, Codex Leicester were looking to introduce themselves in a way which makes a startling impression.   It may have the subtlety of a hammer, but ‘Strong Like Bull’ sets the tone for this six track release which mixes the extreme end of indie rock with a healthy dose of fuzzy post-hardcore.

The second number, ‘Hey Hey Hot Legs’ continues in a similar vein, although a moment of solo vocal allows a few more (ultimately necessary) melodies shining though.  As before, any melodies at all are heavily distorted and coupled with off-kilter rhythms.  Throughout the track, the barrage of distorted guitars provides metallic wall of sound (something which, surely, sounds even huger in the live setting).  Once again, Codex Leicester are far more concerned with rhythms and layers than hooks or accessibility, but musically, by the end of track there’s certainly no arguing with them.  Provided you can get your head around the general volume combined with incoherency, these guys sound like they mean business.   ‘Van Sant’ and ‘Oh Wichita’ collectively offer another four minutes of swaggering distortion, adding nothing particularly new to the band’s musical palette, though beneath the general noise and chaos, the drums can occasionally be relied upon to do something interesting.

Even less subtle, ‘Concrete Stetson’ arrives with a huge riff combined with screaming. Underneath the screaming, Kris Tearse’s drumming offers a few more great flourishes, but as before, the almost unrelenting wall of guitars makes almost everything else seem inconsequential.   Offering a rare glimpse into something far more structured, ‘SS Supersleeper’ opens with clean guitar work augmented by a great bassline.   The rattling bass is then topped by droning keyboards (thickening Codex’s sound even more), crashing drums and a heady combination of whispered and shouted voices.  Somewhere between the two extremes lays brief bursts of solid indie rock fare.  The greater exposure towards light and shade is a plus point during this number, showing Codex as having a grater musical range than first hearing may suggest.  As before, you won’t find many hooks, but that’s not really what these guys are about.   ‘SS Supersleeper’ is the EP’s best track hands down, proving the old theory that sometimes less is more.

Codex Leicester are solid musicians and there’s no doubt that with regard to musical backdrops, this unsubtle sound really works for them. Pulling together their barrage of careening noise, listeners may perhaps hear Bring Me The Horizon, with traces of Fugazi, Helmet, Quicksand and more besides, although none of the band’s influences ever seem glaringly obvious.  Within this release, you’ll find some great sounds, bolstered by a great production and a few interesting musical embellishments.  As a whole, however, this is a band who don’t seem to be looking for any kind of mass acceptance; some more sensitive listeners may find Codex Leicester’s grinding and crashing approach is best experienced in short bursts.  It may take time to fully get to grips with ‘A Madman’s Lullaby’, but for some, it could be listening time well spent.

April/May 2012

CONSTANTINE – Divine Design

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Divine DesignFormed in 2006, Finnish progressive metallers Constantine released various demos before attracting the attention of Palokka Records who signed the band for their 2011 debut ‘Divine Design’.  Aptly named it seems, for Constantine’s debut is superbly professional for a band signed to a small label.  No corners have been cut here; even before hearing a note of music, it’s impossible not to be impressed by the packaging itself, a beautifully designed, glossy three-panel digipak adorned with some pretty smart artwork.

Of course, as always, the music within is of greater importance, and in progressive metal terms, Constantine do not disappoint.  Creating a sound that brings together the power of early Queensryche, the bombast of ‘Images and Words’ era Dream Theater and the most harmonious elements of Iron Maiden, Constantine may not always sound wholly original, but they create superb musical atmospheres where every band member gives their all.

Clocking in at just over an hour, each of this album’s seven tracks are simply fantastic.  The title cut starts slowly with an atmospheric fade in followed by hugely dominating chords, before breaking into something more complex.  Various guitar arpeggios show Constantine’s love for Dream Theater and Iron Maiden – the latter made particularly obvious via some solid use of twin lead harmonies and vocalist Lassi’s Bruce Dickinson-esque style.   While drummer Marko plays aggressively and impressively, it is bassist Antti whom perhaps contributes the most interesting musical flourishes; although his playing often gets swamped by the more in-your-face elements, he plays fast and complex musical structures throughout the piece.  In many ways, this opening number is an eight minute showcase for all of Constantine’s talents.  There are not too many surprises from here on in, but Constantine offers some great music within their chosen musical niche.

Slightly more accessible, ‘The Shadow Within’ makes a slightly bigger feature of the keyboards, but even then, they appear more in a blanket fashion as opposed to those the widdly prog-rock kind.  Here, as before, the guitars lend a heavy metallic chug, interspersed by some great melodic flourishes.  Repeated listens are certainly advised, since behind the metal riffing there are some lovely touches to be discovered – again, often from the bass.  Throw in a a huge sweeping solo and another strong vocal and it becomes another enjoyable track  Even if you’re feeling like you’ve heard it all before, take a step back and and try to listen to the different elements individually: it’s hard not to argue that Constantine are musically sound.

‘Through The Veil of Death’ opens with snare drums clashing with a choppy guitar rhythm, before drummer Marko pounds at the double bass drum, creating one ‘Divine Design’s heaviest moments.  Those not into the more power metal side of things need not worry, however, since such aggression is brief.  This is followed by a few droning keys before the band opt for an uptempo groove in keeping with Symphony X’s more accessible works.  The keyboard makes a return during what passes as a chorus, featuring Lassi in fine voice once again.  While there are few hooks to stick in your head, it’s a track which stands up to repeated listening, uncovering hidden depths on those later listens:  the twin lead guitars are top, while the hugely complex bass runs hold everything together without ever coming to the fore.

Several eight minute numbers would already guarantee a fairly weighty listen, but to finish, Constantine go all out on a fifteen minute epic.  A huge intro once again displays even more Maiden love within Constantine’s ranks, as twin guitars deliver riffs in a very Adrian Smith inspired way.  Following this, things get heavier with another chugging delivery bolstered by some solid double bass drum work.  Just as you think it is about to going to get heavier still, there’s another melodic 80s edged guitar solo (of the old school metal kind), before everything falls away to reveal something more atmospheric.  Over clean guitar work, augmented by the sound of strings, Lassi begins to sing.  Here, his accented style isn’t quite as enjoyable as on some other parts of the disc, sadly, but it doesn’t detract too much from the great music.  Elsewhere during this lengthy workout, you’ll encounter Iron Maiden-esque galloping, brief jazzy-prog keyboard interludes, waltzing folksiness, occasional rock piano and even more sweeping and majestic soloing from both guitarists.  A shout out here must go to drummer Marko, who does a sterling job in holding everything together.  ‘The Darkest Grace’ might not convey the same levels of pomp as Symphony X’s ‘The Odyssey’ – it takes years to become that ridiculously epic after all – but for a huge closing statement on a debut release, it showcases some solid ideas.

Those unmoved by any of the bands mentioned here – or indeed any other music fitting neatly into progressive/power metal niches – will almost certainly be unmoved by Constantine’s debut.  In progressive metal terms, ‘Divine Design’ doesn’t veer too far from what’s on show during that title track, but if you’re really into prog metal, chances are, you’ll really love them.  ‘Divine Design’ is a damn fine disc indeed.

April 2012

THE BLACK STOUT – A Pint Of Riot

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A Pint of RiotOn the title track of The Black Stout’s 2011 debut EP ‘Voices of Generation‘, the band promised they were “going to kick your backside”.  As good as their word, they did just that on a handful of tunes which blended attitude, riffs and a love of Rancid with top results.  This second release – an eight song 12” vinyl – stretches the musical boundaries a little farther developing more of a punk ‘n’ roll sound in places.  While some of the music may be a touch more sophisticated, in terms of grit, there are still plenty of hooks and an attitude that’s as hard hitting as a large Doc Marten boot.

The jangly guitar intro featured on ‘Join The Riot’ suggests the band are more assured in their craft, showcasing a sharp-edged but melodic twin guitar.  This musical motif re-appears elsewhere, but overall, this opening track displays plenty of the hefty, punky sounds you are expecting.  With an anthemic feel, it is a strong number, but not as good as some featured here.   The band anthem ‘Black Stout’ moves farther away from punk and more into hard rock territory with a collection of great riffs, while the shouty refrain “we are The Black Stout” is both catchy and simple.  Musically, the best moments are provided by bassist Al, who uses his instrument to bring a great rumbling bottom end to the faster sections.  He may not play with the unmatchable technique of Rancid’s Matt Freeman, but then few musicians do.  His technique and speed prove great enough for the job in hand.

During the first couple of minutes of ‘Drinking Song’, you won’t find anything particularly surprising, just more punk rock delivered with as much energy as this Parisian quintet can muster.  And then, for the second half of the track, The Black Stout wheel out an angry waltzing tune over which Vaness’ growls “Fuck you! I’m drunk because I want to be drunk!” .   On the whole, while it’s good to hear the band bringing in different ideas and influences, after a few plays, it doesn’t always sit as well as the more predictable high voltage punk ‘n’ roll/punk-pop tracks.  With a tough guitar sound and brilliant drum part, ‘Lover or Liar’ firmly embraces punk ‘n’ roll.  In this setting, the gravelly vocals show a great sense of style and the riffs are hard hitting. Delivered with slight distortion, Al’s bass parts are incredibly solid again, but this time he’s totally outshone by Xav behind the drum kit.  The fills and rolls during parts of this track give the punk ‘n’ roll edges a serious groove.  This track has no weak links – each of the band members brings something great to the table.  If you’ve not heard any Black Stout music before, this is a track you must seek out.  It deserves a place on a punk sampler CD from a hugely successful label.

The straight up punk/pop of ‘The Night’s Not Over’ pitches Vaness’ ragged voice against some well-placed (if slightly underused) gang vocals, as a bouncy riff recalls the best moments of the band’s debut EP.  Being the kind of riff that you’d find gracing many of The Queers and Screeching Weasel’s more complex tunes (complex being a relative term), the featured lead guitar parts have an instant familiarity, but the solo is perhaps more adventurous than either of the named bands could ever muster.  Throw in a commercial chorus and you’ve got a fantastic piece of punk worthy of any collection.  ‘There’s Nothing Here For Me’ is equally enjoyable.  Over a superb punk ‘n’ roll riff (somewhere between Rocket From The Crypt and UK band The Computers in a lightweight mood), Vanness’s growly voice drips with attitude, the gang vocals invite great opportunities for shouting along.  If the song doesn’t get you, the riff will. In punk ‘n’ roll terms, you’ll rarely find a better tune than this.  With simple in your face elements, The Black Stout hit their musical target square on.

Like the debut EP, ‘A Pint of Riot’ features a few tracks which ought not to be missed.  On ‘The Night’s Not Over’, ‘There’s Nothing Here For Me’ and (especially) ‘Lover or Liar’, The Black Stout’s brand of punk/punk ‘n’ roll sounds better than ever.  These tracks present a band ready to move farther up the career ladder.  Since The Black Stout now appear ready to send out the sounds of the Paris punk scene to a bigger audience, let’s hope Fat Mike and Brett Gurewitz are listening…

April 2012

BEAST MAKE BOMB – Sourpuss EP

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In 2010, Beast Make Bomb self-released their debut EP ‘Skinny Legs’.  By the third year of their existence, the Brooklyn four piece had already shared a stage with Queens of the Stone Age and Cold War Kids and also gained enthusiasm from the online press.  Their second EP, ‘Sourpuss’ is a monster:  Four songs which will kick your arse while celebrating everything you loved – and probably continue to love – about alternative rock in the nineties.

‘1, 2, 3, 4’ kicks things off in style with a speedy punk riff delivered in a trashy rock style.  For a brief second, the guitar work sounds like it could have been inspired by Rocket From The Crypt or UK punk ‘n’ roll hotshots The Computers.  Although it doesn’t ever dominate the track, the riff creeps back in elsewhere, but make no mistake: despite those brief first impressions – and a truckload of gusto – Beast Make Bomb haven’t turned punk ‘n’ roll on their second EP.   The speed is a mainstay, but the general feel inevitably shifts towards something a little poppier; partly due to Ceci Gomez’s vocal style, a cross between a young Kim Deal and Dressy Bessy’s Tammy Ealom.  The track is in and out in barely two minutes, but it’s long enough for the listener to be knocked over by this bands energy and sheer enthusiasm.  If this is your fist experience of Beast Make Bomb, they know you’ll keep listening.

‘Coney Island’ is much softer, almost sounding like the work of a different band. It is here Beast Make Bomb indulges in one of their primary influences, and if you’re a Kim Deal/Breeders fan yourself, you’ll undoubtedly find some musical empathy.  The guitar lines shimmer and a repeated line of “you’re gonna take a swim” is instantly endearing, as Beast Make Bomb recalls a hazy daze from the early nineties. While the dreamy indie rock mood provides maximum listening enjoyment, it’s the drum led section towards the track’s end which gives things an extra kick. Hartley Lewis’s solid style occasionally recalls that of David Narcizo, though Narcizo would never have chosen to follow almost tribal pounding with flat out rock thrashing drowned in cymbals…  Moving from a dreamy, wandering alternative rock soundscape to a full-pelt climax, ‘Coney Island’ demonstrates Beast Make Bomb’s complete musical range in a single track.

‘Rough It Out’ offers more fuzzy riffs backed by rumbling drums.  The guitar riffs are simple and cutting, but it’s the vocals – somewhere between Kim Deal and Karen O – which lends this track its overall loveliness.  While the tune remains relatively gritty, the vocal leans more towards the commercial.  With a clear split between edgy rhythms and pop hooks, it’s a tune you can spin several times in quick succession without it ever losing its sparkle. ‘Party Monster’ opens with more solid drumming before exploding into an arrangement which fuses the best elements of Throwing Muses and early Breeders.  Gomez’s sultry vocal yelps and whispers in a way which commands attention, while the lead guitar work lays down discordant lines throughout.  As with ‘Coney Island’, this showcases Beast Make Bomb at their musical best, and by the end, they’ll leave you wanting more.

‘Sourpuss’ offers some great hooks and some greater tunes along the way.  The key influences here may often be less than subtle, but quite frankly, when everything sounds this good, who cares?

April 2012