Album Review: Wayward Vine – The Fall

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photo by Diana Levine Photography; photo courtesy of Knyvet

Album Review of Wayward Vine: The Fall

Wayward Vine‘s music covers a fair amount of musical real estate near the intersection of Americana, folk, and pop. In some eras, it would be considered radio-friendly. Today, it may be more accurate to describe it as festival crowd-friendly, in that the band’s music is likely to appeal to fans of a relatively broad swath of bands at a multi-genre festival. Wayward Vine’s songs have pleasant melodies and harmonies, appealing vocals, and detailed songwriting. Add to that a recording effort that paid serious attention to the details to obtain a crisp, clean sound without losing the songs’ energy or the artist’s vibrance, and you have The Fall, a record that’s an enjoyable, easy listen, whether alone or with a group of music fans whose tastes diverge a bit.

image courtesy of Knyvet

Wayward Vine is led by primary songwriters and co-vocalists Valerie Rachel (vocals, violin, keys, Hammond, tambourine) and Greg Lawrence (vocals, guitar, percussion, harmonica), joined by Yoni Gordon (electric guitar), Jose Downes (bass), and Jim St. Pierre (drums and percussion).

Wayward Vine kicks off The Fall with the album’s title track. “The Fall” is a soft piano-driven number that paints a picture, but of course, when you have a violin on board and a variety of talented instrumentalists, the sound is rich and variety. Just driven by the piano.

Therein, by the way, lies the difficulty in describing Wayward Vine’s music. It’s song-driven. Certainly, they fit just fine in the Americana setting in which I first heard them. The musical style could also be richly instrumented folk music – meaning what folk musicians music sounds like when they’re not averse to rich instrumentation in a studio.

photo by Diana Levine Photography; photo courtesy of Knyvet

Then there are songs like second track “Hannah,” particularly the opening, which is really more pop with a hint of rock before settling into a fully instrumented, well-produced singer-songwriter song vibe (with rich background vocals). In the end, multi-influence-driven categorization attempts aside, Wayward Vine simply sounds like Wayward Vine, and that’s what all bands really strive for, isn’t it?

Next up, the niftily smooth “Narcissist’s Disguise” is a pleasantly listenable storytelling tune with a moderately sneaky guitar hook and a classic soft-rock fadeout. It’s followed by single-worthy swayer “Dancing on Your Basement Floor,” the first song on the disc that leans more on Greg’s voice than Valerie’s – and not solely but as a lead with plenty of harmonizing. It’s the first time on the record that you really notice how well the pair’s voices blend together in harmony. Indeed, Valerie’s voice is core to Wayward Vine’s distinctive sound, and is what you’d want leading most songs, but having a second capable lead choice and a top-notch harmony option is another cool weapon in Wayward Vine’s arsenal. Plus, specifically on this track, it allows space for Valerie’s voice to extend the “floooooor” vocal to particularly good effect. It’s those little nuances that elevate a song like “Dancing on Your Basement Floor.”

The tempo picks up and the band delivers a jangly, guitar-driven mostly-pop song with “Implode,” with Valerie’s voice, particularly on the lines “so arrest me!” and “na na na na” ideally suited to the light, cheerful vibe.

“Just Like That” offers up a folky country music vibe and includes one of my favorite rhymes on the record: “It’s funny how life can bite you on the ass. I guess this too shall pass.” It’s not nearly the most insightful lyric in the song, as the song tries to answer the question it poses twice (“Why does it always feel like you’re only alive when you’re dying inside?”), but it’s the one that makes me chuckle.

The band doubles down on the country music vibe with the heavily-rhythmed floor-thumper “Hard Way.” Next is a journey to a fiddle-driven, mountain country (or barndance) musical place next with “History.” And then comes “End of May,” a very folky, singer-songwritery storyteller, picture-painter of a song.

Penultimate track “Turn Yourself Around” opens with notable harmonicawork before revealing its somewhat haunting musical edge and a tunefully ominous vocal strain. And the record closes with “Imperfect Beings,” a pleasantly pop-folky, piano-supported number that closes with a long, slightly psychedelic rock ‘n roll musical outro, providing The Fall with a fittingly genre-blending close.

Looking Ahead

Wayward Vine has several upcoming July and August Massachusetts performances, per this Facebook post. With the band’s ability to appeal to fans of multiple genres, they’re well-suited to their next half-dozen venues, an even split of farmers markets and beer garden/brewery events in Hyde Park, Roslindale, Canton, Jamaica Plain, and Natick.

Single Review: Triers – “Home”

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photo courtesy of BJF PR

Single Review of Triers: “Home”

Triers are an energetic, tuneful, hooky alt-rock outfit comprised of Nick Taylor (vocals, guitar), CJ Loveitt (guitar), Alex Bachene (drums), and CJ Allen (bass, keys, backing vocals).

image courtesy of BJF PR

The band’s latest single, “Home,” is a full-tilt anthemic romp, a song whose chorus will have you singing along if you aren’t out of breath from jumping up and down during the verses. The nifty little “this is heart and soul” dip before diving headfirst into the chorus. The “we’re out of touch, we’re out of time” nod to Hall & Oates from days gone by that’s perfectly well-placed. It’s an alt-pop rock song with a punk attitude, but it doesn’t fit into a pop-punk label. As a whole, it’s an exceptionally well-written song that’s performed tightly with subtle nuances that should appeal to song-driven rock fans, yet at the same time it’s a fast-paced, nearly-relentless ball of energy that’ll be a favorite among those whose goal in life is to bounce energetically around a dance club (or live venue) floor.

“Home” was produced by Gavin Monaghan (Editors, The Twang, Robert Plant) at Magic Garden Studios, so the song has a little pedigree to it. Plus, I’ve long been a fan of Taylor’s songwriting, as some songs he penned with a different band more than a decade ago remain among my personal favorites to this day, so the layered coolness in “Home” comes as absolutely no surprise.

photo courtesy of BJF PR

As for the song’s meaning, Taylor explains, “‘Home’ isn’t about a place. It’s about chasing your dream, getting told you’re not good enough, and finding your sense of belonging in spite of that. The lyric ‘put me back on the shelf’ came from how it feels to be part of an industry that celebrates you one minute and forgets you the next. But we’re still here, and this song is our way of saying that’s where we belong — in the noise.”

In my opinion, sleep on Triers (pronounced “Tree-ers”) at your own peril. Or, and this is my recommendation, jump on board and enjoy the ride. Start with “Home”; if you’re a fan of virtually any flavor of rock ‘n roll, you’re really gonna enjoy this song!

Live Review: Straight No Chaser at the Stadium Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Straight No Chaser

Stadium Theatre, Woonsocket, RI

June 19, 2026

With summer officially underway, it is the perfect season to start going out to see some outdoor concerts at a nearby amphitheater or stadium. But on a humid Friday night at the Stadium Theater in Woonsocket, Rhode Island, I – and a sold-out crowd – decided to go check out the legendary a cappella group Straight No Chaser as they embark on their “Beach Bash” summer tour.

photo by Luca DePalo

Straight No Chaser (also known as SNC) is a professional American a cappella group formed in 1996 in Bloomington, Indiana. The group’s name was inspired by composer Thelonious Monk’s 1967 record Straight, No Chaser. Although the band has been best known for its iconic covers of songs like “Mary, Did You Know,” “The 12 Days of Christmas,” and “O Holy Night,” they have recorded many successful originals like “The Christmas Can-Can,” “Text Me Merry Christmas,” and “To Christmas (The Drinking Song).”

photo by Luca DePalo

After many lineup changes over the years, the band is currently led by original members Jerome Collins and Walter Chase as tenors and Steve Morgan as a baritone. Other members include Luke Bob Robinson as the group’s bass vocalist, Mike Luginbill as a tenor, Seggie Isho as baritone, Tyler Trepp as a tenor and vocal percussionist, Jasper Smith as a tenor and baritone, and the incredible Freedom Young as a vocal percussionist and a baritone.

Coming into this show was very different from the other artists I have seen live over time. I made sure to come in with no expectations. I had never heard of their covers and had never listened to an original song by them. I didn’t even look at their setlist, which I always do! All the info I had been given was from a family member who had mentioned how they put on a humorous, energetic, and fun concert. And oh man, I was blown away! Throughout the energetic evening, the band covered a variety of songs from the ’60s to now, including a large variety of genres, with one of them being my personal favorite genre, “Yacht Rock.”

photo by Luca DePalo

Just to show how unique the show was, the group opened with a mashup of the famed Eurythmics song “Sweet Dreams” with a song that brought me back a decade earlier, “HandClap” by Fitz and The Tantrums. They truly pleased everybody with their first set. A couple of newer songs were sung, such as “Shut Up and Dance,” “Cake By the Ocean,” and the recent Bruno Mars song “I Just Might,” and then famed hits like “Jessie’s Girl,” “Sailing,” “Escape (The Piña Colada Song),” and the comedic “Cheeseburger in Paradise.”

After a quick intermission, the group came back in fire! With the feeling of a summer breeze throughout the venue, the band threw out dozens of beach balls and encouraged the audience to rise up from their seats. A few of the many songs included “Lido Shuffle,” “Everybody Wants To Rule The World,” “All Night Long (All Night),” “Can’t Stop The Feeling,” and even “No Diggity.”

photo by Luca DePalo

But what shocked me most from the show was what occurred during the encore. With the stage lights lowered and the crowd chanting “One more song,” the group came back with a shocking surprise. Walking to the middle of the stage, the band lined up side-by-side, lowering their microphones, and placing them down on the stage. As the crowd’s noise began to drop, the group kicked into an emotional version of “The Boys of Summer” by Don Henley. It’s very rare to go see a band end off with an emotional song, so I didn’t know how to feel about it, but that all changed once I heard the line “I can tell you my love for you will still be strong after the boys of summer have gone.”

I don’t think I will ever forget attending this show. It is my mission to see them again sometime soon. If they end up coming near you, I highly recommend it. Because on that Saturday evening, Straight No Chaser proved to a sold-out crowd that music doesn’t need crazy overproduction or instrumentation; it just needs pure harmonies to refresh ears.

Single Review: Chris Bones – “Look in My Eyes”

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image courtesy of Chris Bones

Single Review of Chris Bones: “Look in My Eyes”

Twisted Rose lead axeman Chris Bones takes a little solo spin with single “Look in My Eyes.” The opening notes recall the heyday of melodic hard rock ballads. You’ll think Poison, Warrant, and similar bands. The song title will recall Firehouse’s “When I Look Into Your Eyes,” though “Look in My Eyes” is acoustic versus the rich production of the Firehouse number.

Guitarist Bones showcases a raw, powerful voice, with a edge that’s suitably anguished for this sort of ballad. I mean, Caro‘s voice is the vocal heart of Twisted Rose, but Chris has some serious vocal chops, too. The lyrics, too, are as dramatic as many of the best ’80s/’90s ballads – “Standing here, I still can’t believe it’s true. My thoughts flying high, without you I would die.” And, of course, like any kickass power ballad, there are stretches that’ll make the hair on your neck stand on end.

In any case, if this is your genre, this song belongs in your collection, something new to sit alongside favorites like Poison’s “Every Rose Has Its Thorn,” Warrant’s “Sometimes She Cries,” or Kix’s “Don’t Close Your Eyes.”

Single Review: Tyler Quantrill – “Awaken”

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image courtesy of Tyler Quantrill

Single Review of Tyler Quantrill: “Awaken”

Second City Sin frontman Tyler Quantrill dropped the single “Awaken” last year on the one-year anniversary of the release of his debut album, A Transmission of Hope, from which the single was drawn.

The song itself features a heavy, doom-inspiring guitar line highlighted by staticky distortion. The echoey nature of the steadily plodding vocals at to the song’s ominousness. I know it sounds a little depressively overwhelming, but it coalesces as a catchy, almost anthemic heavy rock song. And there’s a cool instrumental bridge that’s kicked off by a guitar run worth paying attention to, providing some variety while fitting well within the song’s predominant soundscape.

It’s a song that’ll appeal to most fans of heavier rock music. It’s also something that would likely cause some serious buzz at a live performance. Anyway, if this style is within your range of musical fandom, “Awaken” is absolutely a song worth hearing!

Album Review: Jen Kearney – Gas Station Poet

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image courtesy of Jen Kearney

Album Review of Jen Kearney: Gas Station Poet

Jen Kearney‘s newest album, Gas Station Poet, is timeless. It’s so familiar yet so very original. It’s album-oriented classic groove rock with elements of funk, soul, blues, jazz, and ’70s rock. It’s the sort of record to listen to with your headphones on, stretched out in your bean bag chair (or comfy recliner), just soaking it all in. A two-time New England Music Awards nominee for Soul/R&B Act of the Year, Kearney’s vocals are smooth and rich; stylistically, one artist that comes to mind as a comparison is Prince, in tone and phrasing in particular, especially during some of Kearney’s vocal riffs. Other comps that make it into the conversation are Nina Simone and maybe Tracy Chapman, though neither is a perfect match; still, they’d sit well side-by-side on compilation discs or mix tapes.

Blog contributor Eric Harabadian reviewed the single “Long Division,” Gas Station Poet‘s third track, last year; and yes, it’s one of my favorite stops along the album’s 7-song, 34 minute journey. I’m going to primarily focus on the music and vocals in this review, but I’d implore you to listen closely to the lyrics, too. Says Kearney, “This album is my response to the rising tide of greed that’s eroding empathy. We’re watching humanity bargain with its own soul, and I wanted to put that into words and music.” At risk of contributing to the overhype that permeates all things media today, hell yeah, she did!

The record opens with kind of a jazz club feel, with playful light music and horns leading up to Jen Kearney’s coarsely soulful vocals on “The Auctioneer.” The horns and the groove this song settles into make it infectious.

“The Hang of Sisyphus and Narcissus,” next – and I just have to point out that this album’s first two songs both reference Sisyphus, so top that! – is a laid-back, piano-driven, soulful groove that keeps pushing forward, steadily up that hill, finally showcasing some cool wails from Kearney that drive the song’s point home in the song’s latter portion.

“Long Division” follows, with those horns again that are used so well on this record, supporting Kearney’s pleading voice, stressing the lyrics about algorithm-driven divisions while the song meanders pleasantly through some funky, bluesy instrumentation.

“11 Minutes” is the only song on the record to clock less than 4 minutes in length, but of course, the song’s title is not really about its length. Rather, as the opening lyrics “11 minutes in space” clarify, it’s a reference to Katy Perry’s 2025 space “adventure,” and yeah, it’s a critical reference to performative activism in place of actual, meaningful contributions. The song itself builds on a musical base of pianowork, designed almost specifically to enhance Kearney’s vocal delivery, driving home the song’s grievances in a very jazz-clubby, riffing style. Of course, the way the music highlights the lyrics on “11 Minutes” also brings to mind a Broadway performance. It’s a really cool, stylish performance and delivery.

“Burn Me Down” brings back the horns and the funk, and while it has some really smooth grooves – vocally and musically – it also sports the most musical dissonance on the record, as its horn pop-ins coincide with some aggressive percussion and bass. It’s really cool, especially as a slight change of pace from the rest of the disc.

“Burn Me Down” ideally sets up the next song, “Just in the Neighborhood,” whose horns, organ, and underlying rhythm come across all the more playful in contrast with the preceding number. Of course, don’t let the mood and the tempo of the song fool you; it’s a soulful, bluesy groove highlighting the downsides of gentrification. It’s as I wrote earlier, listen to the lyrics! But oh, man, what a cool, smooth delivery; even with your brain turned off, it makes for a great listen!

Kearney closes the record with the title track, “Gas Station Poet.” It’s a drawn-out, soulful, bluesy number, lightly instrumented and primarily featuring Jen’s voice as its guiding light. It’s one of those close-your-eyes-and-listen songs, in which you’ll maybe sway a little and enjoy as the five minutes simultaneously last forever and end too soon, closing with the repeat fadeout lyrics of “I guess I still believe in love.” It’ll leave you sighing contentedly when it’s over, ending an album listen that’s time well spent, at least if you’re a music fan. (And if you’re not a music fan, what are you even doing here?!)

In the end, though you’ll generally find me listening to this record beginning to end because it’s such an outstanding collection, if I were to choose just two or three songs for a quick listen… well, they’d change based on my mood, of course, but probably most often they’d be the big single “Long Division,” the album-opener “The Auctioneer,” and the playful “Just in the Neighborhood.” That’s because I always like a little tempo. There are a couple slow grooves that’d top the list if I was in that mood. But hey, choose your own faves. A listen to Jen Kearney’s Gas Station Poet is guaranteed to be time well spent.

Looking Ahead

This record also makes clear that a Jen Kearney performance is likely to be a top-tier event. She’s a bigtime talent, and finding artists like this whose shows are still in smaller venues and more affordable is one of the very best reasons to get to know who the top-shelf artists are in your local and regional music scenes. According to the “Shows” page of Kearney’s website, she’ll be at the Lizard Lounge in Cambridge, MA on June 26th, performing in Portsmouth, NH and Cambridge, MA in the back half of July, and has a full-band show (I always love full-band concerts!) on August 20th in Medford, MA – a free concert at Medford’s Condon Shell. Of course, check back at Kearney’s website for new shows as they’re added, and follow her on Instagram and/or Facebook to see her latest news and announcements.

 

Single Review: Twirlies – “Wait Until Tomorrow”

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image courtesy of Cafe Superstar Recordings

Single Review of Twirlies: “Wait Until Tomorrow”

Norwegian indie pop trio Twirlies – Christoffer, Sara, and Sigurd – follow up debut single “Think That I’m in Love” with the smooth, light, soft-but-not-mellow, peppy little pop number “Wait Until Tomorrow.”

photo courtesy of Cafe Superstar Recordings

“Wait Until Tomorrow” begins with the sort of organy synth notes that are reminiscent of shoegaze-slash-dreamwave, and those notes persist throughout the song, providing a dreamy, otherworldly feel. At the same time, the sweet melody and vocal harmonies carry a more pop-friendly style from beginning to end.

With each subsequent listen, this is a song that grows on you, increasingly becoming a favorite, as its blend of style and sound carries a depth that becomes more apparent upon multiple plays. It’s not simply the sweet little ditty it appears at first glance. At the same time, it’s not super-deep. But it’s musically complex enough to remain interesting – increasingly so – and grow from simply an “oh, that’s kinda nice” song into a playlist favorite. The song has a subtle energy, one that’ll put a little smile on your face because of his quietly cheerful pleasantness.

Light pop, shoegaze, or dreamwave fans – or really anyone in need of a pleasant, smile-inducing melody in their lives – should give a few spins to Twirlies’ “Wait Until Tomorrow.”

 

Single Review: Speedfossil – “Peg Leg”

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photo by Jim Gerdeman; photo courtesy of Knyvet

Single Review of Speedfossil: “Peg Leg”

The Band

Boston-based power pop band Speedfossil is Garret Vandermolen (vocals, guitars, keyboards), Michael Scotti (bass, backing vocals), Dan Jordan (guitar, backing vocals), and Chris Walsh (drums, percussion). The band’s song “Peg Leg” was released as part of the The Sound Cove: Super Sonic Showcase, Volume 1, which is available from The Sound Cove as a “name your price” download on bandcamp. The song also kicks off the band’s most recent album, Time Flies: 10 Years of Speedfossil.

image courtesy of Knyvet

The Review

Take some Full Moon Fever-era Tom Petty, sprinkle in a little modern pop-alt rock edge, add a punk-rock attitude (not the musical style, mind you – the attitude), wrap it in a catchy, moderately energetic pop-rock package, and drop in a couple harmonizing “ooh-ooh”s, and you have the fun, college-rock-friendly, bop-along anthem “Peg Leg.” This song will quickly become a favorite, but it’s catchy as hell, so you’ll need to be careful playing it at work, lest you fail to censor yourself and accidentally sing along with “I’ll try not to fuck it up!” To be fair, that’s actually a pretty good mantra for work, but you may be accused of setting the bar too low.

The Bottom Line

“Peg Leg” is a fun, rockin’, slightly raw yet still quite polished power pop song, ideally performed and produced. Give it a listen. You’ll enjoy it.

Single Reviews: Little Billy Lost – “Tonight” and “Under the Gun”

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photo by Smitt E Smitty; photo courtesy of Knyvet

Single Reviews of Little Billy Lost: “Tonight” and “Under the Gun”

Little Billy Lost is an assemblage of highly regarded Boston music scene veterans Fred Pineau (guitar, vocals), James Melanson (guitar, vocals), Patrick Moynihan (bass, vocals), and Smitt E. Smitty (drums, percussion). No surprise, the band’s recent singles are fun, raucous, well-crafted, catchy rock ‘n roll tunes. Before I dig deeper into the music, though, I’m going to go on a bit of a tangent, so bear with me.

image courtesy of Knyvet

Don’t you hate it when you’re sure a song reminds you of another song, then you go to listen to the other song and think “what was I thinking?” I’m sure there are elements of “Kids in America” in some of the guitar licks of “Tonight,” but side-by-side the songs sound nothing alike. Not Kim Wilde’s version. Not The Muffs’ version. Elsewhere, I swear there are elements of Journey’s “Only the Young.” I even imagine montage scenes from Vision Quest. Side by side, though, nope; can’t find the connection. So why does “Tonight” remind me of those songs – just in places, not throughout? Hard to say, but they’re all kickass rock songs with a similar energy, so they have that in common. And to be honest, I don’t really hate it when songs remind me of other songs I love, even when that comparison fades upon closer scrutiny, but it does set me off trying to figure out the “why” behind the connections, even if I can’t always.

Back to the music, though, both “Tonight” and “Under the Gun” are garage rock filtered through a rowdy punk rock attitude in the form of catchy-yet-raw power pop. Yes, that means they’re energy-filled, full of hooky twists and turns, and wicked fun.

image courtesy of Knyvet

“Tonight,” in particular, is a larger-than-life power pop anthem, with its energy mirroring the song’s time-for-a-change message. Its fast tempo carries the song beginning to end, while there’s a nifty guitar line, particularly late in the song, that carries this tune to its end.

“Under the Gun,” meanwhile, opens with a little “Should I Stay or Should I Go” energy before quickly evolving into a hard-driving, guitar-driven power pop anthem, replete with “ahhhhh, ahhhhh” background vocals as the song builds to its chorus. “Under the Gun” has plenty of catchy little guitar-based and drum-based nuances to keep it fresh listen after listen. Listen for yourself if you want to know what the song’s about, but it’s a thoughtful song with lyrics like “cancer spreads when nothing’s done” that urge action because “we’re under the gun.” The song’s so catchy that you may not feel compelled to listen for its message, but you’ll listen to it so many times just for the music that the song’s lyrics will eventually seep into your subconscious. No worries, though; rock ‘n roll is supposed to be subversive, after all.

If you’ve heard neither of these songs yet, they make a good two-fer package. Indeed, fans of rock ‘n roll – from garage rock to power pop-rock to anthemic hard rock – will find a lot to like in Little Billy Lost’s two most recent singles, “Tonight” and “Under the Gun.”

Album Review: BlitZ – Rock City Symphony

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image courtesy of BlitZ

Album Review of BlitZ: Rock City Symphony

You’ve read about BlitZ here before, so you know these guys rock! Last year, I reviewed the band’s Kicking Up a Storm album; well, they’re back and rockin’ as hard as ever with Rock City Symphony. The band is a blast from the past – ’80s-style guitar rock, for the most part, with powerful, almost-always-on-10 vocals that are as important to the songs’ enthusiastic delivery as the dynamic guitarwork.

This Nottingham-based throwback melodic metal outfit is comprised of Stuart Corden (vocals, bass), Kevin Simpson (guitar, keyboards, piano, backing vocals), and Mat Davis (drums, vocals). The trio’s latest full-length release isn’t just a feast for the ears. No, it also comes with an 11-page color comic book that tells the story behind Rock City Symphony. So, you know, multimedia, but the old-school kind.

photo courtesy of BlitZ

Musically, Corden’s voice reminds me of an amalgam of ’80s rock voices, but repeatedly in the band’s songs on this album I hear elements of Kix. I’m not suggesting soundalike vocals, but Corden’s voice has some of the same dynamic elements that made Steve Whiteman such a legendary frontman. Simpson’s axework, meanwhile, can shred, but more often it’s his nimble, tuneful guitar lines that carry the songs forward, slightly reminiscent of late ’80s/early ’90s guitar-driven rock bands like Trixter (especially the album tracks, a bit heavier than the hits but still hook-laden) and Sweet F.A. In any case, BlitZ’s sound is very familiar, but after a few listens, you realize it’s all their own.

Indeed, since I already knew the band, I immediately knew I was listening to a BlitZ record from the opening chords of the album-opening title track, “Rock City Symphony.” And if “Rock City Symphony” sets the album’s tone, then the opening funky hard rock lead-in to second track “Tear Down the Walls” establishes the fact that this band has a variety of influences. Despite a harsh wall of noise that ratchets things up early on, the song soon erupts into a bit of a sing/shout-along with a monster guitar hook that’ll reel in just about any listener.

Mostly fast-paced guitar rock songs follow. There’s “Hurricane,” on which I hear hints of Black ‘N Blue, and “The Score,” which sounds like something current kickass, classic-style, somewhat raw melodic hard rock band Dirtbag Republic might play.

photo courtesy of BlitZ

The album maintains its energy level following “The Score” with “Skin of Our Teeth” until finally slowing things down on “Vampires of the Dawn,” a somewhat hauntingly sparsely instrumented number apart from the build to power during the chorus and the bridge following the second chorus, which leads to a slow-paced, wailing guitar solo. The song’s power holds until the last minute, which is guided by soft piano. In your mind, you may picture a piano being played in a soft mist on the stage as “Vampires of the Dawn” fades out.

The mist dissipates quickly, though, as “Hollow Man” brings the energy and aggression back from its very first notes. It’s a ragged and distorted heavy rock anthem for hollow men (“I was born in a lab, cloned from a rat”), and it sports a really cool blistering axe solo whose intricacy belies the song’s blunt-force heaviness.

“Anti Hero” brings forth a little bit of a heavy prog, storytelling edge, with exactly the sort of rhythm and heavily floating wall of guitar you’d expect to find in progressive-influenced heavy rock songs about fantasy worlds with dragons. Or, perhaps, Norse mythology.

photo courtesy of BlitZ

Put a pin in that thought, though, as “Song 4 Life” is a catchy-af song that blends pop-punk enthusiasm, particularly in the fun chorus, with an old-school Sunset Strip vocal and lyrical vibe. Yes, this one’s probably going get some repeat-play action on your (and my) playlist!

Now, back to that pin. BlitZ goes full-on heavy theatrical with Rock City Symphony‘s penultimate track. Seriously, the opening voice-over could be something a dungeon master might spout at the beginning of a quest, at least if they were a dramatic DM who valued high production value. The song itself mixes ultra-heavy verses that feature the closest to a heavy metal death growl you’ll find on the record with a chorus of “we ride to Valhalla for vengeance” that’s the next-heaviest thing on this record but comes off as almost soaring compared with the verses. Indeed, it’s the polar opposite of the preceding track.

The album closes with “Kick It Up,” a song that could be the featured anthem on any ’70s (or early ’80s) straight-ahead hard rock disc.

Rock City Symphony is a record that’ll give you whiplash. In a good way, if you enjoy when bands show their versatility, as BlitZ has done here. Old-school AOR fans will dig the bookends of “Rock City Symphony” and “Kick It Up,” while the band – as you see from my review – goes both much heavier and much lighter over the course of the record. My personal favorites are the title track, “Tear Down the Walls,” and “Song 4 Life,” but with the song-to-song variance on the disc, I’m sure you’ll have your own faves.