Category Archives: Album Reviews

Album Review: Dokken – Heaven Comes Down

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Dokken – Heaven Comes Down

image courtesy of New Ocean Media

Album Review of Dokken: Heaven Comes Down (Silver Lining Music)

Have you been missing your Dokken fix? Heaven Comes Down is the band’s first release in more than a decade and – spoiler alert – it rocks! Musically, the album is akin to Tooth and Nail-era Dokken, a little rawer but just as melodic as the band’s biggest hit-era discs and a frequent fave among old-school Dokken fans. In that respect, Heaven Comes Down serves as a terrific introduction to the band for potentially brand-new fans, if this were to be their first encounter with the band.

The album kicks things off with high-energy rocker “Fugitive.” Guitarist Jon Levin, serving as Dokken’s lead guitarist for the fourth consecutive album dating back to 2004, absolutely shreds, propelling this song a mile a minute with the help of rhythm section Chris McCarvill (bass) and BJ Zamp (drums). Meanwhile, Don delivers an impassioned vocal performance, with the added bit of gravel in his vocals – when compared to early Dokken, at least – providing a little more rock grit on this song, in particular, and a bit of gravitas to the album in general. In the melodic hit era, “Fugitive” would be a certain top-ten hit. It’s my favorite song on the album, though others come close.

“Gypsy,” song two, maintains the energy level and pace of “Fugitive,” delivering a similarly-styled catchy tune. “Is It Me Or Is It You?” adds a sidewinding rhythm to the formula; it’s just as heavy as the first two tracks, but Don’s vocals soar a bit more, and Jon’s solo is a little more finesse-based and less aggressive.

“Just Like a Rose” is just as heavy as the preceding tracks, but the music flows more smoothly, in classic Dokken fashion, and the arrangement features a some open space, just slightly less densely packed with instrumentation.

“I’ll Never Give Up” is the disc’s power ballad. Fiercely emotional melodic hard rock vocals drive the song, and a nifty guitar solo matches the tone, fitting nice into the song as it drives things forward. As much as “Fugitive” would be a top-ten hit in melodic hard rock’s heyday, “I’ll Never Give Up” is the sort of ballad that might have reached number one.

“Saving Grace” is a stereotypically old-school Dokken-styled power rocker, mid-tempo, with the weightiness a result of its heavy rhythm rather than speed.

“Over the Mountain” picks up the tempo a little, but it isn’t as much faster as it seems; mostly it’s the nifty guitar hook in the verses and the crisp skinswork in the chorus that give the song its pace. Buried on the back half of the disc and not particularly ostentatious, “Over the Mountain” is a sneaky-good tune that’ll grow into a favorite.

“I Remember” is one of those slower-paced songs that’s still not a ballad, in part because the chorus picks up a little speed. I mean, yeah, this would be a slow dance song at a rock club, but it’s kinda pushing the limit of what works.

Penultimate track “Lost in You” is a guitar-driven slow-tempo heavy rocker not unlike “Saving Grace.” Yeah, the guitar hook is different, but the two songs always remind me of each other.

And finally, “Santa Fe” closes the disc with a cool, mid-tempo, acoustic guitar-driven western musical flavor. The light music bed highlights Don’s softly emotional, somewhat wistful vocals and lyrics. It’s a twangy song with lyrics about horses and whiskey and heading to Santa Fe. It’s one of my favorite tracks on the disc, a terrific way to end an album.

In the end, this is a classic Dokken-styled record with well-written songs, attention-grabbing axework, an often-soaring hard rock vocal delivery that’s a Don Dokken specialty, an overall heaviness with a variety of tempos that are often actually less fast than they seem, the requisite hit-caliber power ballad, and excellent musicianship throughout.

Looking Ahead

Dokken’s web site lists several tour dates (scroll down a little to see them), including three spring dates currently scheduled: March 1st in St. Charles, IL; March 2nd in Medina, MN; and April 6th at the Ground Zero Music Festival in Bandera, TX. Concert dates are also listed for an August European tour and a couple of September west coast dates (Nevada and California). Be sure to check the website for more details and for additional dates as they’re added.

Album Review: Craig Bickhardt – Outpourings

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Craig Bickhardt

photo courtesy of Trespass Music

Album Review of Craig Bickhardt: Outpourings

Craig Bickhardt is a singer-songwriter who sings folk songs, sprinkled with a hint of Americana, with a rich, resonant, just slightly raspy voice and a penchant for connecting with his listeners as if he’s telling stories we’ve all heard a million times before, but perhaps with different details and not previously told quite so well. Craig is a songwriter whose songs have been recorded by a lot of major country music artists and a few from other genres, too, as you can see from the discography page on his website. As is sometimes the case with great songwriters, Craig is a talented recording artist in his own right, his musical talents providing voice and accompaniment to his own-penned musical creations.

Craig Bickhardt – Outpourings

image courtesy of Trespass Music

Outpourings is a 13-song trip with Craig’s heartfelt voice as the guide. On this record, I’d place him squarely on the folk side of Americana, though perhaps renditions that were more electric and less acoustic would raise the hint of country to greater prominence in the mix.

Opening track, “Breaking the Bread,” immediately caught my attention. Fast-picking, a warm, rough-edged vocal, and a welcoming message – “so glad you’re here, breaking the bread” – provide a welcoming entrée to the album. I hear hints (just hints) of Jim Croce in Craig’s voice, mostly in the delivery, but it’s a surefire attention-grabber.

In “Ancient Lullabies,” I hear a tone that’s more in line with the delivery soft rock piano-man Joshua Kadison used on his mellowest songs. By the end of the disc, you really just hear Craig Bickhardt, but early on you notice the presence elements you appreciate in some other great vocalists, and it helps you appreciate Craig’s vocal talent. Of course, the man’s an accomplished songwriter, so the song structure and lyrics are consistently top-shelf.

Throughout the record, Craig chooses topics that will evoke emotion, and then he paints detailed pictures with his lyrics and the emotion in his voice. There are a few songs that stand out for me; you may or may not have the same favorites.

Craig Bickhardt

photo courtesy of Trespass Music

In “England Or Me,” Craig sings an emotionally power-packed tale of finding love during World War II. It’s a powerful song that’ll leave a lump in your throat, even though neither Craig nor we (most of us) were around for that period of world history. The song and the story it tells, however, are timeless.

“She Won’t Be Yours Alone” is another standout track that will stick with you. It’s an uptempo song that lilts and lifts and dances its way around and through some nifty, thoughtful, clever lyrics.

“Fire in the Spirit” introduces harmony vocals from Aislinn Bickhardt Landolt that blend well with Craig’s voice to offer a new, intriguing vocal line.

“Steal Home (Letter to Curt Flood)” won’t just resonate with baseball fans who understand the importance of Curt Flood in the history of major league baseball free agency. The song soars with melancholy, particularly when the lyrics circle back to introspection.

When Craig adds some tempo to his songs, as he does in spots on “Hills of Geronimo,” another personal favorite, it adds nice variety to the album, probably the reason a song like this is memorable, though the heavy lyrics are there for anyone who chooses to listen closely.

Craig Bickhardt

photo courtesy of Trespass Music

“I Don’t Know About Love At All” is a pure acoustic country ballad, with Tom Hampton’s lap steel providing a lot of that country twang, though the lyrics and Craig’s delivery of them also recall open spaces, suggesting this as a song that might be poured out while sitting around a campfire if a cowboy – or a poet staying up late under the stars – were so inclined.

“If Holes Were Coins” is slow-tempo rockin’ Americana with a serious country edge. Fast picking, organ-like sound in the keywork, harmony vocals again from Aislinn Bickhart Landolt, and the odd lyrical image of “if holes were coins” combine with, probably, the song’s next-to-last position on the album to cause it to be one of those songs that stick with you after the album ends.

Craig closes the disc with a song that returns to the folk side of the spectrum, extending over a bit to the soft rock/singer-songwriter lane, with dancing keys contributing to the light feeling of “I Live For This.” The lyrics, too, seem like something you might expect to be the life motto of a songwriting folk troubadour: “Some cry for more, some die for less. I live for this.”

And with that, the album ends. It’s a mostly folk album with a few other influences popping up in spots, including a more country-flavored section toward the end of the collection. If you like folk singing and appreciate a singer-songwriter who’s a master at his craft, you’ll enjoy Craig Bickhardt’s Outpourings. I’ve certainly enjoyed getting to know this disc.

Craig Bickhardt

photo courtesy of Trespass Music

More Recently

Outpourings was released in January 2023, more than a year ago, and is one of the albums I felt I needed to review as I circled back to see what I missed during my 19-month writing hiatus that ended last summer. In September, Craig re-released No Road Back: A Retrospective, a 2010 album that had long been out of print. The “News” page of Craig’s website also mentions a limited-edition 26-song edition of Outpourings, double the length of the album I just reviewed. The message containing that information is more than a year old, but if you’re a Craig Bickhardt fan, it might be worth reaching out to see if any of those are still available. Of course, if you stream, you can listen to the 26-song version of the album on Spotify.

Looking Ahead

The “Tour” page on Craig’s website lists several upcoming performances, starting March 9th in Ewing, New Jersey. Additional dates spanning the rest of the year are listed in Pennsylvania, Delaware, and Massachusetts. Check Craig’s website for dates, locations, and ticket information for those concerts, and be sure to circle back periodically for new dates as they’re added.

Album Review: Major Moment – The Pain That Makes Us Grow

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Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

Album Review of Major Moment: The Pain That Makes Us Grow

Major Moment‘s sound will catch your ear immediately. They’re one of the best “pop metal bands” I’ve heard in recent years. Their music is synth-loaded, with rockin’ guitars, heavy rhythms, and vocals that range from smooth and soaring to grisly and metallic. If you don’t yet know about Major Moment, especially if you don’t actively seek out music outside the mainstream consciousness, think about some of the most rockin’ Imagine Dragons songs but with double the power. Among bands I’ve reviewed recently, I’d be most likely to pair Major Moment with Metalite. Among the “similar bands” Major Moment mentions on its website, I hear the strongest correlation with Starset; also, though, I hear strong similarities with Skillet, but with generally crisper vocals, and with Bad Omens, but with a willingness to take the vocals a little rougher when called-upon. I hear elements of the rest of the bands Major Moment self-compares to, but those are the strongest comparisons.

Although Boston-based Major Moment burst upon the scene in 2018 with its EP one small stEP, I first ran across the band while listening to music from the 2023 New England Music Awards nominees, as I always do before deciding who to vote for; Major Moment’s video for “Toxic” was nominated for Video of the Year.

Major Moment – The Pain That Makes Us Grow

image courtesy of Major Moment

The Pain That Makes Us Grow is a 14-song collection that Major Moment plans to release one single at a time, while the entire collection is available for purchase by fans with a tentative shipping date of March 2024, months before being available on streaming platforms, with special vinyl bundles being available, too. Starting with the 2020 release of “The Flood” and including the late 2023 release of “Losing Battles,” by my count, six of the fourteen tracks can currently be heard online. The seventh single, “Victim,” is scheduled for a February 23rd release. Personally, I think this is a cool way for musicians to make maximum use of streaming while offering something special to their biggest fans.

Sonically, Major Moment is a band with an identifiable sound that’s fun to listen to, in its deep, sometimes dark, often introspective way. Each song on its own is engaging and attention-grabbing. As a collection, they still are, though you if you prefer an immersive experience, the music is cohesive enough that you can let the songs begin to blend together and simply enjoy the ride, as you might when attending a Major Moment concert, with perhaps just your own two or three favorites briefly rising to more conscious awareness. If you choose this path, to listen less intently, the album provides an immersive adrenaline ride, one that seemingly ends all too soon. Surprising, since it’s a 14-song ride. But each song also deserves a more intentional listen, as the music is meticulously planned and so many of the lyrics are exceptionally well-crafted.

The album opens with “Toxic,” the very song that led me to further investigate this talented rock band. Aggressive rhythm combines with metal vocals that range from tuneful to shout-singing (and even some death growling), bringing life to lyrics like “So toxic, you never let me breathe. I’m losing sleep to give you everything. Oh I’m sick, and you refuse to see I owe you nothing, don’t owe you anything.” The song’s anger is, indeed, well-founded; abusers and gaslighters begone.

“Voices” has a bit more finesse, with rhythmically lighter verses that build to synth- and drum-driven climaxes and a bridge that utilizes the song’s most insistent pace during the transitional late-middle.

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

“You’ll Never Know,” after buzzing into existence, carries a steadier rhythm and, like most of this album, is driven by great lyrics. The lyrics that jump out most obviously in this song about ignorance breeding bigotry, the lyrics you’ll sing along with, are “You’re a fool. I’m the exception, you’re the rule.” However, I prefer the subtler: “Over and over, you talk over me with all the lies that you believe. Over and over, you walk over me. You dare to tell me I’m naïve.” The song is so engaging, you’ll have to remember to pay attention to all of the lyrics, not just the ones that jump out at you. But, as with almost every Major Moment song, the lyrics are as cool as the music.

A steady pace and rhythm drive “No Fear.” It’s a steady, energetic rock song about ignorance and intolerance. I mean, each of these songs would stand out on its own – a great advantage to releasing them one at a time as singles rather than all at once, lest some gems get lost in the shuffle.

“Overcome” is one of those big songs that will overwhelm any playlist and jump out among the songs around it. A drip, drip, drip leads to a musical outburst, foreshadowing the contrast between the light openness of the verses and the denser, more energetic choruses. There’s a powerful metal-shouted, late-song bridge that transitions to one final quick chorus. In fact, it’s this late transition that helps “Overcome” flow so smoothly into the next song that you barely notice the end of “Overcome” and the beginning of “Victim” because it almost feels like just another transition. (Major kudos for this back-to-back song placement!)

“Victim,” then, carries a similar pace as its predecessor but a very different cadence. In fact, “Victim” is another one of those big standalone songs, the lead-in transition notwithstanding. The song, a warning about living in the past, contains the cool lyrics, “Stop looking back, breathing the air of the past. You’re the victim of your whole life passing by. No harm, no foul, nobody’s gonna cry.” The metal-styled vocal differs from “Overcome” in that it is a bit less harsh, at the end of the song, and shorter, but the two songs feel very structurally similar. Still, though, they’re different and individual enough, with slightly different vibes, that they’re hit-caliber songs in their own rights while proving to be an inspired back-to-back song placement on the album.

“Lunacy” is quite possibly my favorite song in this collection. It has a NSFW lyric that should be cautioned against if you’re listening around other people, especially since it’s probably the most singalongable lyric on the entire album. Seriously, be careful, especially while at work, not to shout along with “You must be f*cking kidding me! My ears are ringing from the laughable lies you claim. You propel the pain. It’s all frenetic. (It’s all frenetic.) You’re so pathetic.” Lyrically, the song is awesome throughout. It’s a full-on mock of conspiracy theorists. Yes, we are all shaking our heads in disbelief at your lunacy. “You’re so pathetic.”

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

The middle of the album is packed. Early releases of “The Flood” culminated in this ambitious, exceptionally well-produced video for the song three years ago. It’s a powerful Major Moment-styled hard rock song with a steady rhythm. “The Flood” meticulously maintains its restrained pace, only briefly and slightly picking up tempo leading into the chorus, then retreating. As a result, there are multiple climaxes to power within the song’s four-plus minute runtime. Lyrically, there are two or three related themes, notably but not exclusively including self-centeredness. Seriously, dudes, don’t forget to listen to the lyrics.

“What a Time” follows with a mid-paced tempo, a soaring metallic soundbed, and anguished vocals, followed by the more aggressive “All For None,” whose mid-late song bridge sounds, musically, almost like a military march. The lyrics tie oh-so-well to the music on these songs. Listen closely. And if you can’t place the Diomede reference, google it. I’m not judging – I couldn’t exactly place where I knew it from either.

“Losing Battles” is a song that adeptly changes tempo, effectively pausing before bursting forth on more than one occasion to regain the listener’s attention. Lyrically, it’s an interesting, psychologically introspective journey.

With a steady, heavy rockin’ beat, “Dead” is a buzzy, wall-of-noise based thought-provoker, suggesting that (metaphorically) “you’re already dead.”

“Staged” is another big standout for me. It has an energetic tempo and a chorus that jumps out from the verses, grabbing your attention. Are you living your life, or are you just acting? Do you know the part you’re playing? “Curtain call, will anybody know my name if all the world is a stage?”

Closing track “Married” also has a unique appeal. It’s slower with a more muted sound than most of the collection, almost balladically bringing the album to an end. If you want a happy ending, the lyrics won’t provide it, but the music sets you down softly for a sonically pleasant end to the disc, so there’s that.

Seriously, if this is your kind of music, consider grabbing the entire disc now. If you don’t think this is your kind of music, give it a listen, at least – it’s really good, likely to garner crossover listeners who might not gravitate toward most similar artists. When it’s publicly available, I would suggest starting with my personal NSFW favorite “Lunacy,” but it hasn’t been released as a single yet. Among songs that are currently available, “Toxic,” “Dead,” or “The Flood” would all be good “gateway drugs” to ease you into a Major Moment addiction. The lyrics even without music would be worth reading. But the powerful, soaring music and the fresh, original sound? Well, that’d make Major Moment a new fave even without the supporting lyrical prowess.

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

Looking Ahead

Major Moment continues to release one song at a time from the album. I find six of the fourteen on streaming services, which means there are currently eight unreleased songs on The Pain That Makes Us Grow. That eight will shrink to seven when “Victim,” which is scheduled for a February 23rd release, becomes available. In addition to finding Major Moment’s songs on Spotify and other streaming services, you can find links to all of the band’s videos (from the current album and before) on the “Videos” page of the Major Moment’s website. Or you can check out the band’s YouTube page. I also enjoy what Major Moment shares on TikTok, so give them a follow there for some cool content.

Major Moment doesn’t currently have any live shows scheduled, but keep an eye on the “Shows” page of the band’s website for future dates as they’re added.

 

Album Review: Sado-Domestics – Beach Day in Black and White

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Sado-Domestics

photo by Eric Gehring; photo courtesy of Sado-Domestics

Album Review of Sado-Domestics: Beach Day in Black and White

The Sado-Domestics are singer-songwriters Chris Gleason (also of Los Goutos and Noise Floor Delirium) and Lucy Martinez (also of Lucy and the Dreamers); on Beach Day in Black and White, they’re joined by Jimmy Ryan on mandolin/vocals and Eric Royer on pedal steel. You’ve read about some of these musicians’ exploits at the blog over the years. I’ve reviewed a Los Goutos album and live gig here at the Blog, as well as a Noise Floor Delirium recording. Jimmy Ryan was half of the opening duo reviewed as part of the Los Goutos show. Jimmy was also onstage as a member of the Charles River Reprobates for a gig you’ll find reviewed if you scroll down to the bottom of the Los Goutos review. If we’ve given these musicians receive a bit of attention here at the Blog, it’s only because they deserve it; they’re highly acclaimed members of the Boston music community. However, if you’re not yet plugged into Chris & company’s sizeable corner of the Boston music scene, you’re in for a treat.

Sado-Domestics – Beach Day in Black and White

image courtesy of Sado-Domestics

The Sado-Domestics are practically a dictionary definition of Americana music. There’s a blend of folk and country music underpinning the sound, the song-driven mentality you’d expect from singer-songwriters, an overall jangly, chuggin’-along sound that typically accompanies a mellow-to-moderate pace but with the ability to amp things up like a rocker, an obviously irreverent streak, and the propensity to feature disquieting musical and lyrical vibes just often enough to keep the listener uncomfortable at times and engaged throughout.

The disc opens with an engaging style and twang on its catchy, pleasant, smile-inducing ode to moderate snowfall, not unlike this week’s disappointingly weak storm, “Winter Coating,” with Chris’ voice taking the lead and Lucy’s harmonizing. The song keeps an insistent pace, providing a welcoming entry into the disc.

“Get in the Wind,” next up, is a more old-fashioned country crooner, with Lucy’s lead vox serving as a steadying force, swaying but resisting the urge to go fully Patsy Cline, even though this number might tempt a singer to do so.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

“Move On” is a slow-to-mid-tempo Americana number with a little bit of a hitch in its getalong, progressing steadily even as the rhythm implies it might not. An engaging music limp, as it were.

“Out of My Yard” provides a new sonic atmosphere for the collection, combining some almost-ominous vocals with a twangy musical wail . There something a little disquieting about the song’s vibe, and Jimmy’s haunting vocals are perfectly suited to this tune’s vibe. You’ll also notice how the intensity ratchets up a little during the song’s insistently picked bridge.

“Mountain Song” is perhaps the rockin’est song on the disc. A distorted guitar and heavy, thumping rhythm create a tempo that seems much faster than it really is. Lucy tops it off with some clear, forcefully confident vocals, not fast or loud but, in fact, much more effective by being instead steady and unflinching. I’m pretty sure this is the song on Beach Day in Black and White that I’m most likely to still be playing regularly years from now. But, you know, I’m a rocker at heart, so to the extent your tastes differ, you may find yourself most impacted by a different number.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

Chris and Lucy blend their voices most effectively on “Spooked a Horse,” a song they co-lead sing. The rhythm fits the song title, and, you might correctly assume the title, this is one of the more western-flavored Americana songs on this album. Next, Americana song “Bury It” opens almost Gospelly before plugging along as a cleverly instrumented rustic knee-slapper.

“Bacchus Lounge” is a smooth, groovy, twangy-folky tune that tells a colorful story about New Orleans and a positive Mardi Gras experience.

Twangy strummer “Meteorites” forges ahead steadily and purposefully, with a hint of psychedelia toward the middle, but that was merely foreshadowing, as the following tune, “Take a Walk With Jimmy” goes all in on the psychedelic vibe – not surprisingly, of course, as the track would be an inspired background music selection for a dispensary commercial.

To close, the album returns to the wintry theme from which it began, with pickin’ swayer “‘Twas the Season” putting Beach Day in Black and White to bed.

And that’s it. Another dependably good album from a few of Boston’s mainstay musicians. Very good music from creative people you can count on, as it were. Beach Day in Black and White is a well-written collection of songs that’ll embed themselves easily into the memory of music fans, particularly those who favor the Americana genre.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

Looking Ahead

If you want to catch a Sado-Domestics gig, they currently have three upcoming shows listed on the “Shows” page of their website: Sunday, February 25th at Sally O’Brien’s in Somerville, MA and two gigs – Sunday, April 7th and Sunday, May 5th – at The Square Root in Roslindale, MA. Be sure to check the page periodically for updates as more shows are added.

Single Review: Travellin’ Blue Kings – “It’s Better”

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Travellin' Blue Kings – "It's Better"

image courtesy of Naked/Big D Bookings

Single Review of Travellin’ Blue Kings: “It’s Better” (Naked)

Travellin’ Blue Kings are a Belgian blues band. It’s been almost three years since I reviewed the band’s single “Live Your Life.” Since then, the Kings relehttps://travellinbluekings.lnk.to/ItsBetterased a few more singles, a full-length album (Bending the Rules), and then some more singles, culminating in “It’s Better.”

“It’s Better” is a straightforward smoky blues-joint recalling number that chugs along with a classic, rowdy-but-midtempo blues rhythm. Expressive lead vocals are supported by a well-placed deep support vocal. Horns, guitar-picking, and keyboardwork highlight both a bridge and a nifty musical outro, leading to a hard-stop end to the song. If you’re a fan of the blues, you’ll dig the latest song from this talented group of bluesmen.

Looking Ahead

I don’t see any future shows on the “Events” tab of the band’s Facebook page, but that’ll be the page to watch for upcoming dates.

 

EP Review: Viruette – Waylaid in Aspic

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Viruette

photo by Jimmy Del Ponte; photo courtesy of Viruette

EP Review of Viruette: Waylaid in Aspic

Viruette‘s Waylaid in Aspic can best be described as long form, loosely structured, tunefully-sung musical poetry with an edge. Viruette’s music is a form of progressive alt-rock, with songs that are lyric-heavy and musically engaging. The style reminds me a bit of the energetic alt-rock I heard occasionally while getting my music journalism start in Boston many, many years ago, with twists and turns that keep things interesting. And all those words – as a singer, I’d have to devote weeks of study to them if I wanted to remember more than half of them! – serve as another instrument, with an unexpected vocal cadence providing a slightly off-balance aspect to the tunes on …Aspic.

Viruette – Waylaid in Aspic

cover artwork by Adam Kane; image courtesy of Viruette

Waylaid in Aspic‘s five tracks each offer something appealing. If I had to pick a favorite, I’m partial to EP-opener “Sick Hominid,” with its tempo changes, variety of vocal stylings, and somewhat haunting vibe.

“Superanima,” though, is sometimes my preferred track, as it plugs along at a fun pace, has a singalongable “doo-doo, doo-doo” part, and has lyrics like “Superior mama needs a man with a real superanima, a madonna-fied interior. That lab rat’s kissing cats, and now I’m so alone. I want to drag you down…” No, I don’t know what it all means. But man, I take my hat off to the creative wordsmithing.

“Pollyanna (You’re My Billboard),” the song from whose lyrics the EP title is nabbed, is a little milder musically than the first two tracks but sports an off-kilter carnival midway sound that adds variety to this cohesively offbeat, exceptionally engaging EP.

Viruette

photo by Jimmy Del Ponte; photo courtesy of Viruette

“She Dreams in Green Screen” offers an exit ramp from the carnival via a funhouse mirror vibe before the collection closes with the fun, energetic “The Water Beckons,” probably the most broadly-accessible track in the group, its pop-friendly finesse rooted in a timely pop-rock vibe but with a slightly punk edge. The whole EP is a great listening experience, but if you need to introduce a non-artistic friend to Viruette, perhaps start with “The Water Beckons.”

While the band’s earlier single releases of “Viruette,” “Call Me Annabel,” and “Maimed” offered an interesting glimpse into Viruette’s sound, the longer-form canvas of a five-song EP, the ensemble’s first multi-song release, provided a chance to take listeners on a journey, a goal the guys accomplished with aplomb. I can’t wait to hear Viruette’s next creation.

Looking Ahead

I’ve not yet heard Viruette perform live, but I fully expect this music to translate into a raucous evening of ear-ringing fun. I don’t see any mention of upcoming gigs, but there’s an events tab on the band’s Facebook page you should check periodically. And I see the band occasionally promotes its gigs via Instagram, as well.

Album Review: Twisted Rose – Cherry Tales

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Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Twisted Rose is a German classic rock outfit whose music is hard-driving at times, hard-rock-styled mellower at others, but always an engaging, catchy blend of rockin’ guitars and vocals, clever songwriting, tight musicianship, and a bit of a showman’s flair for flamboyant delivery, when necessary. Ich habe vier Jahre lang Deutsch studiert, aber ich spreche nur ein bisschen; fortunately, everything’s in English, so I have no worries. The foursome on Twisted Rose’s newest album, Cherry Tales, is comprised of singer Caro, guitarist Chris Bones, bass player Tino (who was recently replaced by Alfred, per this December Facebook post and as noted on the band’s website), and drummer Luggy.

Album Review of Twisted Rose: Cherry Tales (7Us/7Hard)

Twisted Rose – Cherry Tales

image courtesy of Twisted Rose

Boom! Right off the bat, Twisted Rose grabs your attention with the crunchy guitar riffs of “Greed4Speed,” followed by intense vocals that echo the need for – no, the greed for – speed, at least musically. Lyrics like “I’m back, I’m back, I’m a damn hell on wheels. Eat my dust while I pass.” Yeah! I usually desire some tempo variance within a song, but “Greed4Speed” is a three-minute, full-speed-ahead adrenaline rush that, if anything, doesn’t last long enough. It totally rocks!

Next up, though, Twisted Rose showcases the ability to slow down. Thankfully. A reprieve, a chance to rest. Well, not exactly. I mean, they’re still a hard rock band, so the sound is heavy, and it even kicks off with some interesting guitar noodling before settling into the beat. Still, the slower tempo of “Wanted” is a nice reprieve. Though as the tempo slows, the heavy beat and power firmly insist “we are a metal band.” “Wanted,” though, isn’t just a soaring mid-tempo power rocker. Mid-song, a key change ratchets things up, providing variety within this mid-paced, powerful headbanger. Oh, and the closing “feel my pain” lyric followed by maniacal laughter? A priceless pièce de résistance. Or a cherry on top, to keep with the album title’s theme.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Bring Back Those Days” leans into a blues influence, making it apparent from the guitar-only opening. The song plods along – metally, not boringly, but from a tempo perspective, it plods – but the song structure affords vocalist Caro an opportunity to include some inventive vocal runs, worth the price of admission.

The energy picks up again on “Say Hello.” The tempo isn’t necessarily as fast as it seems, but it is quite a ride. There are an off-beat “fast, make it fast” background vocal and a guitar line that curls back on itself that push the song forward, plus some aggressive drumming in spots, all seemingly tugging the song to move faster, providing an invisible tension that propels the track to a much quicker end than even the short 2:30 runtime might suggest.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Crossing the Line,” a true power ballad, follows, with piano accompaniment and a Scorpions-esque nearly-spoken/sung balladic intro before guitars and a booming rhythm section join. Cracking vocals and lyrics like “I see now I was crossing the line; I feel now the seed of remorse” deliver this as a potential slow-dance favorite that becomes a much more curious romantic song choice when the lyrics are considered (in the vein of Warrant’s “Sometimes She Cries,” for example).

“Back to the Old Days” opens with a fifties rock-style guitar riff. Perhaps inspired by Marty McFly’s “Johnny B. Goode” but, of course, updated. Regardless, the axe stylings as the riffs roll strike a nostalgic tone, as do the vocals, which approach shouted-singing when such energy is required (while the backing vocals are, in fact, shouted). The tempo here is nearly as aggressive and non-stop as on the disc-opener, to the extent that, while the influencing decade is different, it’s another pure adrenaline-rush number.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Friday Night Blues,” next, is a purely hard-rockin’ blues lament with the requisite blue axe riff declaring the album’s stylistic musical shift from the get-go. On this particular number, be sure to enjoy the axe solo. You can’t miss it, even as the primary lyric in the song is “you’re gonna miss me.”

Straightforward classic hard rock returns, serving up “Party Time.” For sure, you’ll find yourself singing along with the playful “oh-oh-oh” and “hey-hey-eyy” lyrics. The tempo on this song isn’t especially fast, but it is relentless. “Rock You Away,” next, is similarly styled and tempoed, but the singalong phrase is “wo-oh.”

“Skull” feels like a travelling song, a road trip song. More drivealong than singalong, if there is such a thing. But there’s also an uplifting, soaring feeling to the track. It’s a little harder rock than your typical gettin’-things-done movie montage music, but it would otherwise fit such a role.

“We Can’t Get Enough” kicks off with the recurring guitar hook that ties the song together and makes it one of the album’s memorable songs. That and the catchily repeated “more, more, more.” The desire for fame and success espoused by the lyrics also serves as the theme for the song’s clever music video. Oh, and hard rockers have gotta dig the explosion sound at the end. Because, you know, rock ‘n roll.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Twisted Rose closes Cherry Tales with the melancholic ballad “World is Burning.” It’s a heartfelt, emotional, powerful song that’s most obviously anti-war, with the proceeds from the song earmarked to help those affected by the war in Ukraine, but it also includes some broader pro-earth sentiment in the lyrics. If you don’t get a lump in your throat listening to this ballad, you’re probably not human.

Yeah, yeah, kind of a downer ending to an energetic, fun album, though you do get a sense of “people power” and solidarity from it, so that’s not a bad thing. Plus, it’s a worthwhile endeavor for art – even when that art is rock ‘n roll – to make you stop, think, and feel. Plus, you can always re-start the album if you have a need (or greed) for speed.

In total, Twisted Rose’s Cherry Tales is one of the best rock albums I’ve heard in the last year. Stylistically, this would have been a must-have release about 35 years ago, a big hit rock album with some chartable singles. Even today, with a nod to its classic rock roots, Cherry Tales is a fresh-sounding, modern hard rock album that’ll connect with young and old (sorry, not “old”; I mean, “classic”) rockers alike.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Looking Ahead

If you want to catch Twisted Rose live, be sure to check the “Tour” page on the band’s website every so often. The website currently lists a few dates in Germany from April through June and teases an October performance in Barcelona “to be announced.” Also, this November 28, 2023 Instagram post says Twisted Rose is back in the studio, so hopefully there’ve been some new future-favorites recorded that they’ll be sharing with us all in the not-too-distant future.

EP Review: Axminster – Bada Boom!

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Axminster

photo courtesy of Axminster

EP Review of Axminster: Bada Boom!

Bada Boom! is the new EP from Boston-area classic hard rock stalwarts Axminster. It might be recency bias talking, and it probably is, but this pumped-up, hard-rockin’, high-energy four-song EP levels up from the already-high bar set by the band’s previous EP, Tightrope, which I reviewed a few months ago. Rather than repeat the band’s background info from that review, I’ll dive straight into the music. (If this is your first encounter with Axminster, please do read the Tightrope review, too.)

Bada Boom! kicks things off at 11 with fast-moving speedster “Don’t Wind Me Up.” Pouty ’80s-style melodic hard rock vocals couple with guitar crashes, funky hard rock rhythms, and a fast-picking rip-roaring guitar solo on this track. Even though, upon closer examination, the tempo isn’t quite as fast as the song’s frenetic nature makes it seem, “Don’t Wind Me Up” is definitely an energetic pleasure trip for any classic hard rocker.

Axminster – Bada Boom!

image courtesy of Axminster

“Thick N’ Thin” follows with a little more of a sidewinding rhythm, with a vibe akin to Ratt’s “Way Cool Jr.” but a classic rocking vocal and guitar edge that might fit just as well with that era’s Aerosmith tunes. “Thick N’ Thin” is chock-full of rough-edged vocals and guided by a steady rhythm section with a hooky rhythm. In several places, the music peters out a little before recoiling and bursting forth with renewed power to very cool effect.

“Backfire” is a drum-heavy hard rocker with a crunchy bass line and some really cool kamikaze lead guitar runs, all steadied around iconic yet uniquely identifiable ’80s hard rock-styled vocals, always pushing the edge of the vocal envelope.

The EP closes with the punchy rhythm of “White Lie Fever.” The band sounds nothing like Mötley Crüe, but I’d sandwich this song between “Girls Girls Girls” and “Kickstart My Heart” as a nifty fit in a classic hard rock playlist.

Axminster

photo courtesy of Axminster

I could spin this EP over and over. (I have!) It’s an energy-filled four-song collection reminiscent of the very best classic hard rock songs of old but with an energy and enthusiasm that makes it timeless. Simply put, this is a great new collection of axe-driven rock ‘n roll from one of the best foursomes out there plying their trade. Those of us in the Boston area are lucky to have Axminster in our midst, still churning out brand new original classic rock favorites in the band’s inimitable style.

You know, I don’t see any upcoming live dates mentioned on the band’s website or Facebook page, but as kickass as these songs are in a recording, I’m betting they’d be even kickassier live, so I’m hoping there are some gigs in Axminster’s future this year.

Liner Notes

As a cool side note, Bada Boom! includes the work of a pedigreed production team. The EP was mixed by Bob St. John (Extreme, Collective Soul, Duran Duran, Dokken) and mastered by Adam Matza (Steven Tyler, Extreme, Dweezil Zappa, Mary J. Blige).

Album Review: Madlen Keys – Event Horizon

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Madlen Keys

photo courtesy of Rock Rose Music

Album Review of Madlen Keys: Event Horizon

The rich, lush, plush sound of French progressive rock act Madlen Keys melds a light, poppy flavor with long, meandering progressive rock musical runs to deliver a sound uniquely its own. You can hear a variety of influences in Madlen Keys’ music – obviously progressive rock, but also some timeless sixties/seventies psychedelic folk and more recent alt-rock influences.

Madlen Keys – Event Horizon

image courtesy of Rock Rose Music

It has been quite cool having this album follow Catbells’ dream-pop album Partly Cloudy, which I reviewed yesterday, in my to-be-reviewed playlist for the last few months. There’s a dreaminess to Madlen Keys’ music that places the two much closer together sonically than you might guess from their nominal musical genres, resulting in a really pleasant back-to-back musical experience.

Madlen Keys’ album-opener, “The Maze,” sports a vocals-only beginning, with instruments following soon thereafter. The music is soft and dreamy, while the verses feature a musical accompaniment different from the rest of the song, as if they’re vocal vignettes. In true progressive rock style, the music meanders and wanders a bit but remains tethered to a consistent, recurring verse and chorus.

Madlen Keys

photo courtesy of Rock Rose Music

“Breathe” follows, with spacy sounds akin to those found on Bob Lord’s recently-reviewed album The Six Observables melding with a dreamy nature reminiscent of the Catbells album I just mentioned. “Breathe” repeatedly builds from mellowness to nearly a wall-of-music power like a more typical, straightforward rock song, but the sounds and the musical journey are soft and airy. The song ends with a reverberating, vibratingly twangy, distorted rock guitar riff. Because of the breadth of styles this song calls upon, it is the song on Event Horizon with perhaps the greatest potential crossover appeal, with the best opportunity to reach the broadest audience.

Madlen Keys mellows out a little on “Flaming Trees,” its lyrics delivered with a soft tone at first, as if a secret revealed, then more confidently firm as the song builds toward the middle. “Flaming Trees” is the longest track on the record, clocking in at more than six minutes, so it stands to reason there is a significant prog-rock instrumental section – the whole back half of the song, in fact – including a long, soaring guitar run that’ll turn this tune into a favorite among guitarists.

Madlen Keys

photo courtesy of Rock Rose Music

“Keep a Secret” is another song with a vox-only opening, this time echoing vocals with only a buzz backing them for more than a minute before the instruments slowly creep in, notably exotically-picked strings for a while, then drums, before the song finally becomes a theme-driven, not-unexpected, progressive rock jam.

“The Stream” has a nifty mid-speed tempo; its music is well-matched to the prominently-recurring lyrics, words you’ll quickly learn and sing along with: “We don’t know for certain anymore, anyhow. ‘Cause we have known and failed now for so long.” Of course, the song isn’t entirely uncertain; it builds from a softer start to a stronger finish.

“Memories of My Friends” is a soaring number that builds in power as it, like “Flaming Trees,” leans into some pretty cool prog rock guitar in the song’s back half.

Madlen Keys

photo courtesy of Rock Rose Music

“Ubik” utilizes a more haunting, uncertain tone, which continues through most of the song. Even the very late shift toward a more musically dense, voluminous sound during the last minute of the song is more disquieting than usual, setting it apart from the more cathartic musical jams in this record’s other tracks. It’s the one song on this disc that, while musically beautiful like all the rest, will leave you a little unsettled at the end.

Event Horizon ends with “Pensando en Ti.” It’s a bit more flowing and is quite clearly a storytelling song. Beginning as a lightly instrumented folky track, partway through, this song transforms into a more theatrical number, putting an oddly eclectic end to this enjoyable, creatively progressive record.

If you want to listen to individual tracks, my picks from this disc would “The Maze,” “Breathe,” and “The Stream,” but I’d recommend listening to Event Horizon in its entirety. As with many progressive rock albums, the songs fit together nicely and all contribute to the overall listening experience.

Looking Ahead

Madlen Keys has a few gigs already scheduled for 2024. You can find the concert schedule on the band’s website. (Yes, I’ve linked to the English-language version of the website.) You can also keep up with Madlen Keys via the band’s social media pages, which are listed on Madlen Keys’ linktree.

Album Review: Catbells – Partly Cloudy

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Catbells – Partly Cloudy

image courtesy of Howlin’ Wuelf Media

Album Review of Catbells: Partly Cloudy (SQFT Records)

Partly Cloudy is the debut full-length album release from folky dream-pop artist Catbells. The album skews toward the pop-rock end of the dream-pop genre, increasing the likelihood that individual songs on Partly Cloudy might readily connect with a broader audience. Catbells’ songwriting suggests a breadth of influences coloring her musical palette, driving noticeable song-to-song nuance.

Catbells’ songs are mellow but structured, with a sense of purpose and destination. The key to Partly Cloudy‘s substantiveness is that it’s a song-driven album. I was intrigued by this album quickly upon my first listen, but I spun the disc several times before committing to a review, waiting to see if its appeal would fade. I’ve been fooled before by soft, dreamy music. No such surprise here; instead, this disc gets better with each listen.

Album-opener “Fade (Rainy Day Demo)” has a Stevie Nicks-ish vibe. In other words, Stevie might perform a song like this if she were to perform in this genre. Catbells’ voice can be a bit soft and wispy, but it’s also firm and full, hinting at plenty of power in reserve. “Fade” is a terrific introduction to Catbells’ musical style. If I had to compare Catbells’ style to anyone else I’ve reviewed, it compares closest to Bridget Davis & the Viking Kings (reviewed here, here, and here), who I’ve always categorized as folk-rock or pop-folk, not dream-pop.

Catbells

photo by Marisa Cherie; photo courtesy of Howlin’ Wuelf Media

As noted, Catbells’ songwriting is a key to her music’s strength. Indeed, song two, “Wilderness,” has moments that are a little reminiscent of the Beatles. The song has a very late sixties-early seventies flavor, akin to some of the Beatles folkier songs during that time frame; also, slightly reminiscent of the successful folk crossover sound from that era. “Wilderness,” like the song before, is engaging because the song has something to say, its songwriting moves it along with purpose, and, of course, Catbells’ voice and instrumentation are pleasant and original.

You’ll find mildly crunchy pop-rock guitars on song three, “Gone Too Far,” which would be as at home as one of the dreamier songs on a radio-friendly alt-rock band’s album as it is on this disc. Also, there’s a sound effect that sometimes makes me get up and look outside to see if there’s a dog barking whenever I hear it, so thanks for that, Catbells. All is forgiven, though, because this is a really cool song, barky sound notwithstanding.

“I Wish” is sonically very familiar, again more alt-rockish. There’s a hint of an eerie, haunting sound, particularly – but not just – in the guitar, that recalls for me Chris Isaak’s “Wicked Game.” (Yes, I overuse that reference in my reviews; clearly, I need another.)

I’ll not go song-by-song through the rest of disc. Each song is uniquely original, and you’ll certainly have your own personal favorites.

It is worth noting that , a couple songs later, “Same As You” has a lyrical delivery that’ll get stuck in your head. Specifically, the line “I… I will remember you.” But also the jangly bonging of the music, which is comparatively uptempo for this album.

For its variety, which is something Catbells does adeptly on this album, despite the similarity of the songs’ sound, I specifically enjoy the music spaciness – as in, outer space-iness – of “Ground Force,” in addition to the earnestness of the song’s vocal delivery.

“Trying Not to Feel” is one of the album’s more melancholy songs, with its cool, introspective lyrics that are exceptionally well-suited to the music, driven initially primarily by a purposeful strum that continues throughout, with Catbells’ musical cadence and vocal tone befitting the chorus’ main message of “Trying not to feel, makes me want to cry.”

Finally, the album ends with song thirteen, “Riding Tides,” a very clearly spoken-sung song with an echoing vocal effect that’s not necessarily unique to this track, but it’s much more apparent due to the light instrumentation, which is mostly a… is that a ukelele?

In all, it’s a great album, an enjoyable listen. I sometimes think I should listen to Partly Cloudy in a dark room with only the spinning reflections of a disco ball lighting the room. I haven’t, in part because I don’t own a disco ball, but if you are able to try this, let me know how it goes. I bet it’ll be a cool experience.

Even if you don’t have many artists like Catbells it in music your collection, she is a best-of-genre artist with crossover appeal, so as a music fan, you should probably at least be aware of her and sample a bit of her music. You’ll probably be glad you did.

More Recently

Even though Partly Cloudy was just released a couple months ago, on October 27th, Catbells does have a more recent single release. Her cover of “Walking in the Air” dropped on December 15th. You can find the song here on bandcamp and here on Spotify; the video is here on YouTube. Catbells’ Instagram followers heard a preview on December 7th, so if you dig Catbells’ music, it’s probably worth following her on Instagram.