CRUZH – The Jungle Revolution

Few bands have managed to take such a giant leap in terms of quality between their first and second records as Swedish rockers Cruzh. Their 2016 album showed promise in terms of its (admittedly unfashionable) AOR-centric songs, but on that record, they sounded like an entire product of the studio. The guitars were smooth and the vocals subjected to so much post-production, they barely sounded human. In short, the material had no real bite. Their second record ‘Tropical Thunder’ – issued by Frontiers Records five years later – was a great improvement. The songs, still indebted to the Danger Danger debut and equally 80s-tastic material by Alien, came with a big heart, but more importantly, seemed to breathe far more naturally. Despite still being overproduced, the 2021 Cruzh had seemingly learnt the value of a more rock derived vocal, and some of the material shared great guitar work, suggesting that this band actually had the potential to become a decent melodic rock act. Granted, they’d still have to go a fair way to beat fellow Swedes Lionville and Streetlight in terms of sheer quality, but ‘Tropical Thunder’ was certainly a huge step in the right direction…

Continue reading

TURBULENCE – Binary Dream

Turbulence’s second album – 2021’s ‘Frontal’ – was a challenging but impressive showcase for some pin-sharp musicianship. The Lebanese prog metal band managed to create a very cerebral sound that took the typical heaviness associated with the genre, and contrast that with some rather grand melodic passages. Experiencing the tuneful guitar parts cutting through parts of ‘Ignite’, or the AOR tinged vocal melodies at the heart of ‘Faceless Man’ helped to give the material a very welcome sense of balance. Although unlikely to appeal to anyone not already well versed in progressive metal, the album offered a window into a work that would just as likely cite Arena and Lalu alongside the more obvious influences from Dream Theater (yawn) and Symphony X (rarrrgh).

Continue reading

THE END MACHINE – The Quantum Phase

The End Machine’s second album, 2021’s ‘Phase 2’ presented some great hard rock sounds. It found the sometime Dokken men George Lynch (guitar) and Jeff Pilson (bass) very much working within their musical comfort zone, but with that, came a great strength. Aided by brilliant Robert Mason on vocals, the band often sounded like a rock powerhouse, despite playing very safely. It would be fair to say that, in hard rock terms, fans of those three musicians got exactly what they wanted.

Continue reading

HONEYMOON SUITE – Alive

The first three Honeymoon Suite albums are an essential part of any decent melodic rock/AOR album collection. Songs like ‘New Girl Now’, ‘Feel It Again’, ‘Bad Attitude’ and ‘Lookin’ Out For Number One’ should have made them as big as Journey and Survivor, but outside of the US and Canada, the band never achieved any more than cult status. Any relative lack of success elsewhere wasn’t for the want of trying, however. Millions of people have actually heard Honeymoon Suite without realising it, since their ‘Lethal Weapon’ graced the end credits of the film of the same name in 1987. Unfortunately, the end credits failed to mention this…robbing the band of some very easy publicity.

Continue reading

GRAND – Second To None

Grand’s debut album was one of the best AOR albums of 2022. Seemingly out of nowhere, the Swedish band dropped a record that encapsulated some of the very best sounds from an unfashionable genre. The songs shared strong influences from the likes of Work of Art and Lionville, but with the help from a dash of pop and some absolutely killer choruses, Grand made a well worn style feel a little perkier than most.

Continue reading