Category Archives: rock

FRIEND SLASH LOVER – The Grey Area EP

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Friend Slash Lover began life as a project in the mind of singer-songwriter Josh Mintz (aka Stupid Human).  After settling on the new moniker, Mintz teamed up with bassist Frank Day, guitarist Greg Pajer and drummer Jake Hayden to create a final line up for the band.  A debut EP, ‘As American As Ones and Zeros’ was released in the summer of 2010, followed by live shows including appearances at the world famous Roxy (a regular haunt for Jane’s Addiction in their early days) and the Viper Room.

The band’s second EP, ‘The Grey Area’ comprises of six numbers which mix a solid pop/rock base with new wave keyboards and occasional harder rock riffs.  ‘As Seen On TV’ comes with a great guitar riff which gives off a very confident air.  Mintz’s slightly emo-ish vocal style is at odds with the heaviest parts of this opening tune, but the arrangement is so well crafted that the constant pull between the hard rock elements and the alt-pop edges keeps things interesting throughout.  The early eighties sounding keyboards lurking beneath add just enough depth to make the track sound far more complex than it actually is, while the guitar riff leaves a great lasting impression; so much so, the chorus doesn’t really grab the listener initially.  On the title cut, the tables are turned:  musically, things are much poppier, fusing radio-friendly rock chops with a chorus hook that’s absolutely superb.  After two or three spins, this tune sticks out as Friend Slash Lover’s best: the vocal delivery is very much suited to the overall sound with a strong mix of acoustic/electric guitars and tinkling keys.

Turning their attention to something softer, the dreamy pop/rock of ‘Unaware’ crosses adult-oriented singer-songwriter moods with some very new-wave keys and programmed drum sounds.  ‘Carry Your Weight’ explores similar lighter tones, but fares better through an extensive use of electric piano, an atmospheric guitar part and a huge sounding climax.  In fact, despite a slow-ish start, the second half of this number ranks among Friend Slash Lover’s best; there’s enough oomph to make the tune sound meaty – if never quite epic in the true sense – while retaining enough melody and accessibility to make it just right for radio.

Perhaps of greatest interest on this second release – and particularly for slightly older listeners – is Friend Slash Lover’s choice of cover tune.  They’ve chosen to tackle XTC’s somewhat controversial ‘Dear God’ (originally from XTC’s 1987 release ‘Skylarking’).  It’s not the first time this tune has been given a makeover; Sarah McLachlan put her own stamp on it back in the nineties. Unsurprisingly, Friend Slash Lover’s recording has more of a rock feel.  The use of electric piano during the intro is particularly lovely, as is the mechanical banjo-esque keyboard loop.  Multi-tracked vocals are also a nice touch here.  Initially, the hard beats of the marching drum seem a little jarring, but once the piece gathers momentum and the sound becomes much fuller, it’s easy to see why this particular stylistic choice was made.  The whole thing builds to a suitably angry finish, and while it doesn’t quite retain the sneer of the XTC original, it’s a decent cover overall.   As one of Britain’s greatest songwriters, the works of Andy Partridge really ought to be explored more often…

In summary:  There’s very little wrong with Friend Slash Lover’s chosen sound, but they don’t always do much that makes them stand out from the world of dozens and dozens of sounding bands out there.   As it is, though, any band which takes the time to cover XTC are deserving of a little of your time in return, while in terms of the self-written material, ‘The Grey Area’ is worth checking out for the title cut alone.

July/August 2012

WIGELIUS – Reinventions

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Maybe it’s just pure association, but some eponymous band names just seem to work well: Dio, Slaughter, Danzig and Dokken are all fine examples of this theory.  Others fall short of the mark: see Newman (sounds more like an estate agent), Naro and Shortino – band names chosen more out of vanity or, perhaps, a lack of imagination.

Frontiers Records signings Wigelius – named after two of their band members – are in danger of falling into the latter category, since the name doesn’t exactly roll off the tongue… Luckily, for this young Swedish band, their album ‘Reinventions’ is without a shadow of doubt one of the finest AOR/melodic rock discs to be released in 2012.  It’s twelve songs are delivered with abundant amounts of melodic power and classy musicianship (given a great studio sound by producer Daniel Flores) to create what is a “must-have” disc – even despite a slightly wobbly start.

While certainly expertly played – great guitar line, strong vocal, pompy keys –  opening track ‘Angeline’, is so close to ‘Emilie’ by fellow Swedes Work Of Art it’s almost scary.  While AOR stopped being about originality long ago, the similarities are such that it would be easy to dismiss Wigelius as mere copyists.  While some will love ‘Angeline’ (the band themselves have even chosen it as a lead track), it doesn’t quite reach full potential.  From then on, though, Wigelius really deliver the goods.

Bringing in a little more melody, finesse and a far less obvious point of inspiration, the album’s second number ‘Talking About Love’ is much better.  Beginning with dreamy 80s keyboard washes and a solid vocal, it immediately promises great things ahead…and then, as the rest of the band crash in with a classic AOR arrangement and a killer chorus, there’s no looking back.  A great chorus, full of superb harmonies and bell-like keyboard work makes this a near faultless track, especially considering the powerful lead voice and polished arrangement. It wouldn’t be an overstatement to even suggest this is almost an equal match for the kind of much-loved melodic rock that filled a decade of great discs between 1984-94.  ‘Next To Me’ and ‘Cassandra’ follow similarly tried and tested musical blueprints (with the former resembling Swedish melodic rockers H.E.A.T., only much better) but once again, through a mix of genuine talent and a fine producer at the helm, Wigelus come up trumps.  There’s little more to say, but if you’re someone who’s a sucker for a hook, these tracks should more than appeal.

Moving back into a more hard rock structure for ‘Do You Really Know’, Wigelius show no sign of weakness, as Jake Svensson’s staccato riffs lay down a solid foundation and his sweeping lead work comes with a great tone.  As far as fist-pumping melodic rock is concerned, genre buffs will have heard this kind of thing time and again, but this is a band who sound so truly enthused – streets ahead of the genre stalwarts offering another by-numbers affair from tired old bones.     On the acoustic number ‘Love Can Be That Much’, the simple melodies may feel a little like a Mr Big cast-off at times, but the song gives Anders a chance to shine vocally without the rest of the band competing for attention.  In the quieter setting, his slightly accented voice sounds very natural.

A barrage of great vocal harmonies sits at the heart of ‘Right Here Right Now’.  A main riff which could almost pass as the ‘Don’t Walk Away’ riff [AOR fans’ joke], is brought to life by an unwavering rhythm section, over which some of the lead guitar work is superb, particularly during an intro awash with showy tapping moments.   As with ‘Next To Me’, there are few musical surprises, but for those who’ve loved the classic AOR strains within Wigelius’ work thus far, this is potentially another favourite. The album’s most uptempo offering ‘Piece of the Action’ works through a world of rock clichés – musically and lyrically – and although it’s one of the weaker tracks, it somehow manages to sound sparky and wholly enjoyable.  The melodic hard rock riffs are solid, Anders Wigelius’s lead voice has plenty of power, but there’s no doubt the best moments come from a couple of unashamedly old-school lead guitar breaks.

No AOR album is complete without a big power ballad, and on ‘There Is No Me Without You’, Wigelius channel their inner Richard Marx, as a piano base allows Anders to belt out an emotive vocal.  As with most of the band’s other material, it’s when the rest of the band pull together that things really hit their stride, and here, a classy backing vocal and (relatively minimalist) soaring guitar lines give this track a great send-off.  While it’s of the by-numbers variety, it’s not any the worse for that.

Given the sheer amount of well-known talent that has passed through the Frontiers stables over the years – Journey, Foreigner, Jeff Scott Soto, Def Leppard, Whitesnake and so many others – Wigelius may not be considered a premier league band by many, and understandably so.  Fact is, however, ‘Reinventions’ is far, far stronger than most melodic rock discs being released by other bands who began their careers long after the scene’s heyday.  Much like Work Of Art and Brazilian band Auras (both also Frontiers signings) Wigelius are cast-iron proof that there are still classic records to be heard from a genre that’s often considered past its best.

July 2012

KING WASHINGTON – The Gears

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The GearsImagine what would happen if the fantastic harmony vocals of Crosby, Stills & Nash, America and their seventies ilk met with Dave Matthews Band and other like-minded jam-band revivalists of the 1990s… Surely the end result would be something special?  That’s kind of what King Washington sound like on their debut full-length release ‘The Gears’.  And while listeners will undoubtedly pick up on a myriad of influences while listening to this record, what’s perhaps most important is the level of musicianship and songcraft; on this twelve song DIY release, King Washington prove themselves as good as any rootsy outfit lucky enough to have major label backing and a huge recording budget at their disposal.  Simply put, ‘The Gears’ IS something special.

The journey starts gently, with the title cut opening with a simple guitar riff coupled with tight wordless harmony vocals. Before long, this then breaks into a strong arrangement where those harmony vocals really get a chance to take centre stage.  Aside from those harmonies, the clean-toned guitars offer some quite lovely, choppy rhythms, while the rhythm section is suitably tight.  ‘Fourth of July’ brings another strong sense of harmonies, once again; in addition, on this second number, King Washington indulges in a few tougher sounding traits. A quasi-aggressive intro allows more room for guitar work, offering a classic echo-driven sound.  The main bulk of the tune is dominated by strong melodies and a full arrangement offering some retro solos and tinkling harpsichord sounds.  These opening numbers certainly work well as a pair, since they show an almost complete range of King Washington’s abilities.

The slow ‘Rosewood Angel’ is the album’s finest tune, full of softly played lead guitar, which occasionally recalls 1970s southern rock.  Combined with another wall of harmonies, this track really shines; a great achievement indeed, especially considering it’s up against some pretty stiff competition.  The guitar work that sounded so appealing during the intro provides recurring musical enjoyment throughout, and while it’s not a tune with an obvious hook, repeated spins allow various musical layers to present something enjoyable with every subsequent listen.  The semi acoustic ‘Fancy’ comes with a slight Dave Matthewsy vibe, where the warmth of the bass pulls in the listener.  The soft music is accompanied by an equally restrained vocal, and while it doesn’t offer much that’s radically different from KW’s other tunes, it’s nicely arranged – a little simpler, perhaps – with the rhythm section taking the bulk of the work: it’s the sound of summer, captured in a three minute capsule.  For superb examples of the King Washington sound, both this track and ‘Rosewood Angel’ are highly recommended listens.

‘Cotton’ is much punchier than your average King Washington tune (not that any of them are average), with upfront drums and a marching beat.  At the heart of the piece, though, are KW’s tried and tested world of meticulous harmonies, ensuring most of harder edges don’t feel at all out of place.  It could be said that the discordant guitar solo pushes the musical envelope just a little too far, but the unsettling mood is brief.  While musically this track may not be as intricate as some others on offer, those harmonies win out.

Finishing off an already pretty cool collection of songs, the acoustic ‘Selling Out’ leaves the listener on a chilled, but not completely downbeat note.  The finger-picked guitar lines are soft and familiar, while the vocal has a fair amount of heart.  There’s a lesser focus on harmonies at first, allowing frontman Tyson Kelly a chance to stretch his voice out a little, his slightly weary delivery sounding like it comes from someone far beyond his years.  The second half of the track reverts to more familiar sounding harmony singing and a bigger arrangement, both of which bring the track – and the album – to a satisfying end.

If you’re looking for a mellow, summery listen, it’s hard to find fault with King Washington’s ‘The Gears’.  Each of the songs are very well crafted, and a gloriously full-sounding production (courtesy of the band themselves, with Joe Puerta of Bruce Hornsby’s Range/Ambrosia fame) is the cherry on the cake.  Retro, sure, but retaining an almost timeless appeal, this is a fine, fine record indeed.

May 2012

STATUS QUO – On The Level

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In 1970, Status Quo found themselves in need of a change in direction.  The psychedelic pop of their first two albums had all but become a musical irrelevance.  Experimenting with blues and rock over their next few albums, they eventually settled upon a brand of boogie rock – a sound they would make their signature.  By the time ‘On The Level’ was released in 1975, the ingredients of ‘classic’ Quo were all in place.  The four-piece line up of Francis Rossi (guitar/vocals), Rick Parfitt (guitar/vocals), Alan Lancaster (bass/vocals) and John Coghlan (drums) were as tight as ever and this album, alongside the previous year’s ‘Hello!’,  features their now easily-recognizable style in its purest form.

‘On The Level’ features Status Quo’s first number one single, the no-nonsense three-chorder ‘Down Down’ (released prior to the album in November 1974).  In lots of ways, although it doesn’t appear until the beginning of side 2 (this is another of those albums which, for people over a certain age, is still thought of as a piece of two-sided black plastic), it’s the track which sets the tone.  Much has been said of this track over the years, and as one of Quo’s signature pieces, it will be familiar to almost all, so in some ways very little else needs to be said.  However, the album version differs slightly from the oft-heard single release:  extended by over a minute and a half, the band builds tension and excitement via a couple of fake endings and reprises.  It’s essential Quo, no question.

The same thoughts could easily be applied to the opening number, ‘Little Lady’: you know there are three chords, you know what they’ll do…it’s just a question of how well they’ll do it – and here, they do a top job.   In terms of simple, no nonsense rock music, this is a real statement of intent; Rossi, Parfitt, Lancaster and Coghlan tear through the track as fast as they can muster.  The chords come fast and the vocals (shared by Rossi, Parfitt and Lancaster) revel in what passes as harmony almost throughout.  Particular high spots here include a riff used as interesting filler before the instrumental break and a softer edge enjoyed just before a furious solo.  During this soft moment, Coghlan employs interesting drum and cymbal fills lending a relative complexity somewhat missing elsewhere, making up for his otherwise slightly thin sound.  Also predictable, ‘What To Do’ is rhythmically tough and lyrically simple – so in many ways, quintessential Quo.  Attempts at shared solo highlights the “minimum overdubs” approach, as playing wanders from fairly dextrous to a little wobbly, but that’s all part of the fun, once again.

After a jangly intro coupled with a slightly uneasy vocal, ‘Most of The Time’ comes in with a standard blues-rock punch.  The power of the rhythm really shines, but it’s the lead guitar work – complete with a raw live in the studio edge – which leaves the biggest impression, with a decent amount of attitude combined with string-bending solos.  It’s so good that it’s almost a disappointment once Rossi’s unfussy lead vocals re-emerge and the band revert of safe bluesy rhythms until the inevitable fade out.  The formulaic three chord boogie of ‘I Saw The Light’ represents Quo on auto-pilot, yet still pleases – probably because of the predictable nature; the diddly-diddly (technical term) solo adds an extra element of joyousness.  By the time Rossi, Parfitt and co hit their stride with this sort of thing, it’s so effortless for them – a fact even more obvious on ‘Over and Done’ which, although taking a similar approach, manages to up the stakes by adding a basic but easily memorable chorus.  Bringing that chorus together with one of Rossi’s best vocal performances, there’s no doubt that ‘Over and Done’ is certainly one of the album’s best cuts.  Factor in a heady mix of dirty and clean guitar tones and a cheeky lead fill creeping in occasionally over the top of its main chord structure, it’s a wonder why this track isn’t much better known outside the Quo fan base.  Since ‘Down Down’ was the only track from ‘On The Level’ to be released as a single – and then, some months before the album appeared – ‘Over and Done’ should perhaps be seen as the great Quo single which never was.  With such a good melody and chorus on hand, it’s easy to forgive a few dodgy notes in the guitar solo!  ‘I Saw The Light’ and ‘Over & Done’ are so enjoyable, it’s easy to get swept along by the otherwise ordinary ‘Night Ride’, a tune where The Quo take three chords and stomp through three minutes without any of those previous offerings’ flourish. Three part harmony vocals flesh out the arrangement, while another string-bending solo just about manages to stay in tune.  It may fall by the wayside – especially in comparison to Quo’s best – bust take another listen… Lancaster’s rock solid bass work is just lovely.  High in the mix, he attacks the tune like a real pro, and that’s just enough to make ‘Nightride’ spinning semi-regularly, even if you don’t find yourself loving it.

There are a couple of tracks included where the band breaks from their tried and tested formula.  The first of these, ‘Broken Man’, has a lighter, almost jangle-pop feel.  There’s something in there that’s still unavoidably Quo, but feels a little quirkier; probably, in part, to a noticeably different lead vocal, courtesy of Alan Lancaster.  Lancaster’s vocal here has come under fire in the past for being a little flat, but frankly it more than suits the task in hand and is a hundred times better than Rossi’s previous attempts at lightness during ‘Most of the Time’s somewhat unnecessary intro.  The album’s ballad (if you can call it that), ‘Where I Am’, is really lightweight; in fact, the closest ‘On The Level’ gets to a dud.  The guitars move from their dirty, boogie shuffling and adopt a clean toned, metallic and almost country-esque sound.  It doesn’t achieve anything beyond its opening couple of lines, ambling along for just under three minutes.  Even a background tinkling – from what could be a banjo, but likely is just more guitar overdubs – doesn’t add enough musical colour to make this change in pace interesting.

Luckily, although coming close to ending the second side, this flimsy experiment isn’t the last word regarding ‘On The Level’.  In proper Quo tradition, they make sure the album reaches a fairly raucous climax.  Their chosen cover tune – in this case, a stomping version of Chuck Berry’s ‘Bye Bye Johnny’ – may not bring anything new to the band’s repertoire (not even slightly), but it’s still a great showcase for this classic four man 70s line up.  Lancaster steps up to the mic once more, and for anyone unsure of his contribution to ‘Broken Man’, this should set the record straight.  His ragged vocal tears into this Chuck Berry number with a rawness it really deserves.

Like the single release of ‘Down Down’, ‘On The Level’ was a resounding commercial success, becoming the second of four Quo albums to reach the top spot on the UK album chart.  Status Quo continued to release solid albums throughout the remainder of the seventies but few ever matched the quality or intensity of this 1975 disc.  If you’re ever keen to step outside the comfort zone of those familiar hits and see what Quo’s best album fillers sound like, ‘On The Level’ is the album to get.  It may not always be as adventurous as 1973’s ‘Quo’, or as intense as parts of ‘Hello!’, but It does every damn thing you’re expecting…occasionally a little more…and that’s more than enough!

January -March 2010/January 2012/May 2012

EMPIRE OF ONE – Empire Of One EP

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This self-titled disc may be the first release from Empire Of One, but their frontman Wil Seabrook has been around for a while.  He has released a few solo albums and an early single achieved the “Record of the Week” accolade on BBC Radio 2.  Rather more regrettably, some of you may remember him from “Rock Star: INXS” [the talent show where the Aussie rockers refused to let their musical legacy die with Michael Hutchence, and instead chose to whore themselves on TV].  Wil performed a couple of songs before being voted out at an early stage.

It turns out that not getting the INXS job was a blessing, since he’s a clearly talented vocalist and this debut EP from Empire Of One features some great material. It’s a good example of radio friendly pop-rock played at a superbly professional level, with just enough grit to stop things ever becoming too sweet.  Empire Of One’s sound may not be immediately striking but this EP only requires a couple of plays before the musicianship and songs begin to shine.

‘If I Let Myself Dream’ comes straight out of the stalls with no intro, with Seabrook’s vocals arriving alongside a rumble of drums.  This lends an edge, which, at first, seems like it ought to fade in order to let the song’s less crashy elements shine through.  In a surprising move, the drums remain insistent throughout, giving this opening track a tough edge.  All the while, Seabrook’s crying voice ensures the track has a strong sense of melody, with the repeated line “always, always I’m with you now” providing the main hook. ‘Roam’ is a touch more accessible. Ringing guitars and more emotive vocals recall the likes of Train (in a less drippy mood) and while the music may not be edgy, the rhythms which dominate the piece give everything a slightly angular approach.  While this is already enjoyable, the song’s best elements come from the superbly played bass, which dances in the background throughout, while doing a sterling job of holding everything together.

While not stretching Empire Of One’s musical range particularly, ‘I Wouldn’t Wait’ and ‘Better Than’ bring two more slices of impeccably played radio rock.  ‘I’m Still Here’ finishes the EP on a real high, however, really showcasing the band’s talent, as another top chorus is rounded out by jangly guitars and solid work from the rhythm department.  The guitars recall mid-period U2, which combined with a slightly breathy vocal line gives this number a cinematic feel.  If you were to pick just one number as a taster for the EP, you would not go far wrong here.

Based on this short release, Pasadena’s Empire Of One are a talented bunch. Harder than Coldplay, happier than Doves and infinitely more interesting than The Killers, this short collection of songs is just about ten thousand times better than most of the limp and somewhat sorry collection of tunes presented on Train’s 2012 effort in the name of radio friendliness.  While the US isn’t short on bands which fill this musical niche, there’s always room for more…especially when they’re this enjoyable.

May 2012