Album Review: Persona – Elusive Reflections

Posted on by
Persona

photo courtesy of Persona

Persona – Elusive Reflections

Album Review of Persona: Elusive Reflections

This is an exceptional progressive rock/metal album from talented, Tunis-based ensemble Persona. Founded in 2012, by lead guitarist Melik Melek Khelifa and singer/pianist Jelena Dobric, the band’s line-up also includes Yosri Ouada (rhythm guitarist), Youssef Aouadi (drums), Walid Bessadok (keyboard), and Nesrine Mahbouli (bass).

Persona - Elusive Reflections album cover

image courtesy of Persona

The overarching style on Elusive Reflections is orchestral progressive rock, but other rock/metal influences are evident, as well. Melik’s axework ranges from soaring progressive to straightforward hard rock to even a little thrash. Jelena’s vocals also soar on some songs but more often act as an additional instrument, with tempo and phrasing changing along with each passage as required by each of Persona’s songs. And Youssef’s drumming can range from soft to thrashing, sometimes keeping tempo and at others embellishing with attention-grabbing runs. As with so many of the bands I choose to review, the variance on the album, thanks to the skill of the band’s members, provides an enjoyable full-album listen; the songs are bound together by Persona’s identifiable sound but varied enough to keep things interesting from beginning to end.

A good example of the Persona’s in-song versatility is “Ageless,” which kicks off with engaging synth work, joined by blistering guitar, adding soaring vocals, before combining those elements with a thrashing rhythm. It deftly moves back and forth between ethereal and heavy rock mode. And oh, the guitar solos! Music like this is meant to be heard on headphones… or in an arena.

Persona

photo courtesy of Persona

The track that I think best showcases the use of vocals almost purely as an instrument, though the lyrics are still clearly sung and easily understood, is “Monsters.” It also includes some of my favorite frenetic drumming on the album. And it’s the song that utilizes (in an appropriate spot) a death metal near-growl.

As each layer of the onion is peeled back, almost an endless array of details, subtle and otherwise, emerge. And not just on the songs already mentioned; it can be heard throughout the disc. That’s what makes a great progressive rock album such an interesting listen. Yet I haven’t even delved into my favorite songs on Elusive Reflections.

The record’s opening track, “Somebody Else,” opens with a musical arrangement and rhythm that does seem to be a subtle nod to a traditional North African sound, recurring throughout the song. Hard-rocking rhythms and soaring, theatrical interludes combine with the usual well-placed guitar run to add texture to this tune, which serves as a fitting introduction to the band.

Persona

photo courtesy of Persona

My favorite song on the album, “Blinded,” follows. It surges and pulses, with dancing guitarwork, relentless drum rhythms, and soaring symphonic-progressive vocals. The rhythm and vocals climb musical hills, pause and soar, sometimes gliding down a bit before surging forward and soaring again.

Persona’s songs typically and effectively begin with musical and drum openings that lead to the vocals – guitar and drums on “Forgotten”; drums and keys on “Halley.” Different instrumental combinations are found throughout.

Persona shows it can slow things down a bit on “Torn.” Or, rather, since the pace on most tracks isn’t blazing, I suppose it would be more correct to say the band softens things a bit on “Torn.” And this is a powerful, heartfelt ballad of longing, carried by the vocals and supported by the light instrumental touch. It’s an exceptional change of pace that fits well in its album placement.

Persona

photo courtesy of Persona

“He Kills Me More” is worth noting for the haunting soft-opening that leads first to a rhythmic war-beat of drums and then a hint of sixties flavor in the first soaring guitar riffs before eventually giving way to a more haunting, plaintive vocal. But it’s that rhythm that carries through the song, tying it together and carrying the listener along on its journey as classic rock guitar (within the fabric of the song and as a blistering solo) and vocals each have their featured moments, as does a spoken-word segment. All of the band’s songs carry a strong, well-constructed structure, but the various parts on “He Kills Me More” are more identifiable and it’s relatively easier to see how they interact than elsewhere on the album.

As the band closes the disc strong, I particularly enjoy the guitar solo and the sweet vocals late in the song on “Persona,” while “The Sea of Fallen Stars” provides a soft landing at the end of the Elusive Reflections, with the vocals soaring a bit more and the intricate axework paced just a touch slower. It’s a fitting closing number for this collection.

From beginning to end, it’s clear Persona could capture the imagination of audiences of any size, from a cozy club to a large arena, as the music and performance would be well-placed alongside an arena-caliber light show. If you’re at all a fan of progressive or symphonic rock – or, for that matter, a classic rock fan who appreciates musicianship – you owe it to yourself to give Persona a listen.

Album Review: Jimmy Lee Morris – Wilderness Wood

Posted on by
Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Jimmy Lee Morris – Wilderness Wood

Backstory

There’s a little backstory, as this album was produced by Simon Scardanelli, whose music I’ve reviewed as long ago as the mid-1990s and whose latest release I reviewed here.

Jimmy Lee Morris has a significant musical backstory of his own. He started writing and recording in the 1980s. I won’t run through his entire background, but he has done solo work, and bands in his past include A La Tienne, Mojo Filter, and the Collaborators. The album Wilderness Wood was released on April 1st, 2016 on Automix Records and published by Musica Scardanelli.

Album Review of Jimmy Lee Morris: Wilderness Wood

If I had to describe Jimmy Lee Morris’ Wilderness Wood in just a single phrase using way-too-many hyphenated adjectives, I’d describe it as a full-sounding, folk-influenced, singer-songwriter-styled, song-driven recording. But it’s more than that, and you can identify specific other genres influencing some individual tracks on the LP. Beyond folk, you’ll hear some Americana, a hint of blues, and a little jazzy flair.

Jimmy Lee Morris - Wilderness Wood

image courtesy of Jimmy Lee Morris

Disc-opener “Give Me All Your Love” has a folk base, but the full orchestration is rather soft-poppy, and the guitar picking suggests Americana/Western. I’d call it eclectic, but that might suggest inaccessibility; in the end, it’s a singer/songwriter type of tune that significantly carries the aforementioned influences. And therein lies the difficulty in describing Jimmy Lee Morris’ music – while much of it defies categorization, it always sounds familiar.

Jimmy possesses a high, strong, rich voice. The songs on Wilderness Wood are well-written. And the production and instrumentation is full and lush, except where a light touch called for. But it’s interesting to run through the songs focusing on the edges, where the songs differ from each other rather than how they’re so cohesive and similar, so with that in mind…

Probably the best pure folk song is the traipsing-through-the-woods-ish song about a trip – technically, I suppose it’s a song about a driving trip, with its title a dead giveaway on that point – “Campervan Song.” This one will have you swaying left and right, perhaps flashing a peace sign, and most likely wanting to sing along once you learn enough of the words to make it worthwhile. Meanwhile, the catchiest pop-folk song of the collection may well be “Sunshine,” with its happy whistle and light, enthusiastic tone. It’s a musical tonic for shaking the blues.

Speaking of blues, the award for best blues edge on Wilderness Wood clearly belongs to “On the Outside.” Great bluesy guitar riff. And a classic recurring blues line in”Nice of you to tell me to my face…” Yeah, it’s blues-folk; heckuva job on this mild genre-bender.

Continuing in the genre-combo theme, do you like a dash of polka seasoning in your folk? The next song, “Home From Home,” achieves just such a convergence. Sure, it’s mostly folk, but it’s just another example of how this disc, while maintaining its folk center and featuring Jimmy’s emotive, identifiable vocals, explores additional influences to juice up individual tracks.

The external influences keep coming. Prefer a little jazz with your folk? There are a couple spots you’ll find it in Wilderness Wood, but “Don’t Fear the Night”‘s sax intro isn’t just a tease; yeah, you’ll find jazz in spades throughout. Daddy-o. If there were such a thing as hipster jazz-folk, this would be it.

Also worth mentioning are “Nothing to Fear,” with its ’70s soft rock/lounge flavor (and sleek, cool sax line); lullaby-esque ballad “Sleep in the Morning”; and “It’s You That I Love,” which has a similar lullaby flavor but tends a bit toward a slow dance song, something you might expect at a ’50s high school sock hop.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Finally, my favorite track (the one you’ll find on my personal smartphone playlist, in fact) is “This is the Life That You Chose,” which sports a twangy, Western folk-Americana feel. And, of course, in my mind at least, its title phrase can be a bit snarky.

Throughout the album, you can tell Jimmy Lee Morris knows his way around a song and is well-skilled with his instrument and his voice. And the album’s lush, full production is rich enough to fill a room. If your musical tastes include folk-Americana music that incorporates other influences, you’re likely to really dig Wilderness Wood. Despite the variety of influences – well, actually, because of them as a 13-song disc of pure folk would get somewhat redundant for anyone but the most hardcore folk aficionado – it’s a cohesive collection that takes its listener on a pleasant journey.

On the Road

Jimmy just kicked off a tour of radio appearances and live gigs. I’ll list them below, but you can also find them on Jimmy’s website.

You can hear Jimmy on the radio May 8th in Seaford on Seahaven FM; May 25th in Uckfield on Uckfield FM Folk Is Not A Rude Word; and May 30th in Brighton on Reverb Radio.

You can see Jimmy perform live on May 26th in Uckfield at Folk & Blues Club Ringles Cross; on May 27th in Hastings at Gecko Bar; on May 31st in Lewes at The Lamb; on June 1st in Lymington at Folk Club the Thomas Tripp; on June 4th in Lingfield at The Star; on June 11th in Mayfield at Rose & Crown; on June 18th in Eastbourne at the Pentacle Drummers Solstice Festival; and on June 19th in Battle at Crowhurst Park.

Be sure to check Jimmy’s website for any additions or updates.

Album Review: Rusty G’s – Low

Posted on by

Rusty G’s – Low

Rusty G's

photo by Geoff Wilbur

The Backstory

I first became aware of Rusty G’s when I saw them perform live in London on Halloween night. They were the opening act for guitar god Bernie Tormé, and the show was the fifth entry in my “Five Nights in London” series of live reviews. I arrived at the concert in time to catch the opening act, which was Rusty G’s, and it turned out to be an unexpectedly pleasant surprise. Raw, raucous, rough and ready. And way too much sound to be coming from a two-piece band! Now, several months later, I have the privilege of reviewing the band’s debut album, Low.

Album Review of Rusty G’s: Low

Rusty G's - Low

image courtesy of Rusty G’s

Doing power trios one better, Rusty G’s is a rare “power duo.” If it were easy, bass players could soon find themselves made redundant, but these guys have achieved a rare feat: They’ve constructed a complete sound as a two-piece. Slated for a May 9th release, Rusty G’s debut full-length album Low confirms the “power duo.” designation. Singer/guitarist James Finch and drummer Dan Lopez deliver a raucous disc of heavy metal that garnishes its lush power rock sound with a stripped-down edge.

Opening track “Oh Yeah” kicks things off in a blaze of guitar before settling into a junkyard dog-esque, bare-bones, raw rock style. On this cut, I’m especially fond of the bluesy guitar riff that wails late in the song as it’s winding down, providing the only hint to the track’s impending conclusion since the drums never let up. The vocals on “Oh Yeah” (and the rest of the disc) are of the old-school, early metal, “sing loudly, as near the edge of the vocalist’s range as possible while still being gravelly but tuneful” variety. Exactly as you’d expect to appropriately accompany the music.

Rusty G's

photo courtesy of Rusty G’s

“Crawl” follows with a killer riff providing a monster hook to the otherwise pulsing, relentlessly plodding steamroller of a rhythm.

A raw guitar hook that embeds itself into my brain for days at a time – not surprisingly, perhaps, punctuating what has become my initial favorite track on the disc – is featured front and center in “I Don’t Want This.” And it’s not just the monster guitar hook; the “ooh, I don’t want this” line is an earworm, too.

One of the more jangly, raucous tracks on Low is “Don’t Belong.” Its melody suggests this may translate exceptionally well to other musical styles; it ain’t necessarily just a metal number. The verses hint at a blues-punk-metal hybrid, while the fog of heaviness in the bridges suggests a rougher-edged version of Metallica-era Metallica.

Rusty G's

photo courtesy of Rusty G’s

Later in the collection, there’s an impressive stop-start rhythm and heavy, metal-bluesy, growling guitar hook in “Waiting” that’s augmented by some nice, true-to-the-song drum runs, sometimes expressive, other times seemingly in anger.

Though not the only place on Low this occurs, “Static” is notable as primarily a drum-driven selection, with the vocals and guitar (aside perhaps from a late solo) playing supporting roles to the drums’ rhythm and short runs. Not a showy song; just real damn solid. And a strong showcase of how a two-piece metal band can be versatile without going mellow.

And if you want an example of prog-influenced heavy rock, you’ll find it at the end of Low. “Losing You” has the fast, slow, experimental, soft-and-heavy elements that could easily be prog-rock influenced. It’s a great way to round out the album, with this six-minute opus extending to the final curtain.

Heavy and cohesive throughout yet with enough variance to stay fresh from song to song, Low makes a good beginning-to-end listen. My personal standout tracks likely differ from yours, but they all maintain a raw power, rhythm, and broad rock appeal that encompass Rusty G’s trademark sound. Yes, power duos are a thing now.

Rusty G's

photo by Geoff Wilbur

Upcoming Gigs

I’ve seen Rusty G’s live, and I can confirm they put on one heck of a show. This is a great live band, so get out to a gig if you can.

According to Rusty G’s website, you can catch the band live at a variety of venues in the coming months: on Friday, May 6th at Craufurd Arms in Milton Keynes; on Wednesday, May 18th at The Dublin Castle in London; on Friday, May 20th at Maida Vale in Sheffield; on Tuesday, May 31st, supporting Cold in Berlin at Gullivers in Manchester; on Wednesday, June 1st, supporting Cold in Berlin at Bannermans in Edinburgh; on Friday, June 10th at the Willow Festival in Northampton; on Saturday, July 2nd at Cranfest in Cranfield; on Friday, August 19th at Tribfest in Yorkshire; on Saturday, August 27th at Bridgnorth Festival; and on Saturday, September 3rd, supporting Eat This at The Castle in Wellingborough. Obviously, check the band’s website for additional bookings, details, and changes.

Album Review: Amy & the Engine – TandeMania

Posted on by
Amy & the Engine

photo courtesy of Amy & the Engine

Amy & the Engine – TandeMania

The Backstory

I first saw Amy & the Engine late last summer at Worcester’s stART on the Street festival. I only caught parts of two songs, not enough to form an opinion, but the band was handing out copies of its Summer of ’15 Sampler, so I picked one up. Over the following months, it worked its way onto my playlist, and I became increasingly enamored with the band’s radio-ready pop stylings.

EP Review of Amy & the Engine: TandeMania

Amy & the Engine - TandeMania

image courtesy of Amy & the Engine

Pop-rock. Catchy pop-rock. Harmonies, melodies, killer hooks, Amy’s saccharin, precise vocals. And most of all, simply well-written songs. These six tracks will get stuck in your memory quickly and easily, like… um… well, arrows.

First track “Arrows” is full of stops and starts, with vocals and melody flirting with rhythm and even some well-placed distorted guitar. It’s an energetic, pleasant start to a happy EP that reveals a lot more meat on its catchy bones with each listen.

“Love Me” follows with an immediately attention-grabbing rhythm that flows readily into a catchy pop melody augmented by well-placed pauses and tempo shifts.

If I had to select the two biggest potential hits, though all six tracks have the sort of timeless pop music quality that could catch and ride a hit-making wave, I’d place my bets on “Megaphone” and “Baby.”

“Megaphone” has a hint of Motown rhythm (really; listen closely) behind Amy’s soaring vocals – soaring away at the end of each word, at times – with a stop-and-start tempo and interloping guitar line. For a light pop song, “Megaphone” has a lot going on, all carefully interwoven into memorable ear candy.

“Baby,” meanwhile taps into a bit of an old-time “girl group” pop feel with singalong bits, but it’s mixed with a minimalist modern guitar line dancing among a bit of light strumming that camouflages a strict adherence to any musical era. In the end, it’s just yet another catchy, timeless pop song.

And that’s what the band does well. Timeless, catchy pop. When you learn the group formed at Berklee, it begins to explain the songwriting, the musicianship, the production value. Where else could you so readily assemble the talent to successfully form a sugar-sweet pop band whose music is structured and substantial enough it can’t be dismissed? Amy & the Engine possess musical, vocal, and songwriting skills honed by top-shelf training and diligent attention to detail. All they need now is that elusive big break. You and I can count ourselves lucky we have this EP to keep us company while we wait.

Amy & the Engine

photo courtesy of Amy & the Engine

Looking Ahead

Upcoming gigs listed on the band’s website include Wednesday, May 4th in Toronto for 2016 Canadian Music Week; Tuesday, May 31 at Pianos in New York; Saturday, June 11th in Kennebunkport, Maine for the 2016 Kennebunkport Festival: Brews & Tunes; Sunday, June 12th in Portland, Maine for the Old Port Festival; Saturday, June 18th in Quechee, Vermont for the Quechee Balloon Festival; Friday, June 24th in Boston at Lawn on D; Wednesday, July 27th in Boston at the Harvard Longwood Campus; and Saturday, September 17th in Craigville Beach, Mass., with Cody Simpson at the 2016 Yellow Dog Music Festival. Watch the band’s website for additional upcoming dates as they’re announced.

Album Review: Altered Sky – Without Wonderland

Posted on by

Altered Sky – Without Wonderland

 

Altered Sky

photo courtesy of Reaction Management

The Backstory

As you may or may not know, I’m a sucker for great, hook-laden pop-punk. I’m also rather selective about it. So if you see me cover a fair number of pop-punk bands in this blog, know that for each band that makes the cut for a review, I’ve sifted through oh-so-many not-so-great ones. I have written about one no-longer-performing favorite, Preston (UK)’s Next Stop Atlanta, as part of my “Road Back” series. A few other pop-punk bands I discovered while “on hiatus” from music journalism also broke up before I returned to writing, though there are a couple others I may reach out to in the coming months.

Pertinent to today’s review, I recently stumbled across Glasgow’s Altered Sky purely by accident. Well, not exactly. When the band’s lead singer, Ana Nowosielska, followed me on Twitter, I followed her back, as I always try to do when musicians follow me. Soon thereafter, I found time to check out her band’s music, something I don’t find time to do nearly as often as I’d like when musicians follow me, and I immediately got in touch with Altered Sky to offer to review its album. So I suppose I should get to the review…

Album Review of Altered Sky: Without Wonderland

There are a lot of mediocre pop-punk bands out there. Altered Sky is not one of those. This group is exceptional. Formed in 2010, the quartet of Ana Nowosielska (vocals), Amy Blair (drums and backing vocals), Rich Passe (guitar), and Ross Archibald (bass) delivers hooky, tight, well-structured, engaging songs. And the band’s newest release, Without Wonderland, is an energetic, powerful pop-punk compendium.

Altered Sky

photo courtesy of Reaction Management

Altered Sky roars out of the gate with “This War Is Mine,” delivering the album’s most instantly memorable track at its outset, showcasing the group’s trademark rhythmic tension, powerful yet sensitive and emotive vocals, and buzzy, quick-hitting guitarwork. Oh, and the listener will soon be singing along from “I’ll give you one more chance to run…” all the way through the chorus.

“Stupid in the Dark” is an interesting second song, as it winds tension tighter and tighter with no significant release. Proof that Altered Sky is willing to toy with its listener. Indeed, the releases follow in many of the other tracks, perhaps more enjoyable because of the way this still-quite-catchy song tightens the screw a bit early on.

Currently vying with “This War…” for designation as my favorite track on the album is energetic rocker “Bury It All,” which employs an upbeat, hopeful musical style, builds periodically to musical climax, and features crisp, clean, strong, smooth vocals. Perhaps most on “Bury It All,” though also in other songs, Ana’s vocals hint at a bit of the pop-sassy vocal style sported by young mid-’00s almost-star Skye Sweetnam, a bit of a gold standard even now.

Oddly tuneful mid-tempo rocker “Songbird” is another standout, replete with attention-grabbing stop-starts and a clever blend of edgy and smooth vocals.

Heartfelt, crisp, emotional ballad “Imagine Adventure” shows off the band’s ability to produce a top-shelf, heartfelt, piano-based slow song. A powerful, pleading, sometimes-gymnastical vocal line is the dominant feature of this stripped-down, soaring number.

One of Altered Sky’s singles from this disc is “Waves”, a memorable track due largely to its insistent, pleading, persistent vocals. Not quite as much unresolved tension as with “Stupid in the Dark,” though the releases, again, aren’t complete; yes, though it’s not quite a theme, musical tension-maintenance something Altered Sky does quite well.

Without Wonderland ends with a heavy drum-driven number, “White Witch,” that showcases the edge in Ana’s voice. A powerful, slightly-off-balance, proud entreaty like this track is essential for the band’s genre; well-executed, it’s a great way to close this fine, 10-song collection on a powerful high note.

Looking Ahead

Altered Sky recently concluded a UK tour but will take to the road again this summer. Altered Sky has announced dates for an acoustic tour with Beyond Recall at Pulp stores in the UK. With all shows scheduled for 5:00 pm starts, announced dates are: July 28th in Glasgow, July 29th in Edinburgh, August 1st in Leeds, August 2nd in Bristol, August 3rd in London, and August 4th in Nottingham. Be sure to check the “shows” page of Altered Sky’s website for further information and to discover upcoming live dates whenever they’re announced.

 

Album Review: Fire Tiger – Energy

Posted on by

Fire Tiger – Energy

Fire Tiger - Energy

image courtesy of Fire Tiger

Album Review of Fire Tiger: Energy

Some of the best albums start with a few catchy songs that reel the listener in. They’re followed by a few cuts that quickly grow in their appeal, and finally there are the remaining tracks whose unique features reveal themselves after repeated listens. Before long, the album is an enjoyable old friend beginning-to-end.

My first exposure to Fire Tiger was through its two most hook-laden songs – the fast-paced, energetic, catchy “Energy” and the slowly-building, soaring mid-tempo rocker “Green Light.” Stylistically, those two tracks recall Mannequin soundtrack-era Starship. In this comparison, Tiffany Alkouri’s vocals split the difference between Mickey Thomas and Grace Slick.

The third quickly memorable tune is a sort of tempo-changing ballad, “He Has Changed.” At its core, it’s a strumming and picking folk song (replete with harmonica) with a memorable hook in the chorus. And it features a great tearjerker of a video you won’t forget once you see it.

Fire Tiger

photo courtesy of Fire Tiger

The rest of Energy showcases the depth and breadth of Tiff Akouri and James Ramsey’s songwriting skills. Spanning the spectrum of pop-rock music while incorporating a broad range of influences and employing a variety of catchy sound devices, this disc is about as varied as you could ask for, all while sounding like a cohesive collection from recognizably the same band.

I think the ’80s comparisons in Fire Tiger reviews are accurate because this is a keyboard-heavy rock band; Fire Tiger conspicuously features a keyboard/synth sound without sacrificing its rock ‘n roller street cred. And that’s very ’80s, the decade of the keytar. That’s the ’80s sound that causes people to reference that decade when describing Fire Tiger. And this band embraces its trademark sound, applying it to a set of original, catchy rock songs.

Within the Fire Tiger sound, Tiff’s vocals are memorable and unique. She has a strong lower register, as in “Looking At Us,” a song that opens with Tiffany clearly channeling Stevie Nicks. She also exudes serious rock attitude with vocal flourishes like the opening “rock grunt” of “Just” and the stylized “oh-oh”s in “Count Dracula.”

Several songs elicit increasing affection over multiple listens. Album-opener “Fancy War Dance,” for example, kicks off the disc with an uncommon, memorable opening – accomplishing one of the primary jobs of a first track, which is to be identifiable. This tune is remarkable for the war chant-inspired supporting vocals you’ll catch yourself singing along with and a subtly catchy guitar hook, while the song itself is driven equally by its guitar line and energetic keyboard work.

Also worth noting is energetic, synth-driven “Wall of Technology,” a catchy tune that even features a snippet of JFK’s moon mission speech while seemingly incongruously driving home a message of the distancing effect of technology relative to human contact.

Throughout Energy‘s ten tracks, Fire Tiger showcases its range, bringing ’80s style to the 2010s, wrapped tightly in well-written, catchy, enduring songs. Because as with all music, no matter how well-performed, it always comes back to the songwriting.

Looking Ahead

Fire Tiger doesn’t currently have any upcoming shows listed on its website, but here’s where you’ll find them when they do.

Album Review: PreCog – Are We Lost?

Posted on by
PreCog

image courtesy of PreCog

by Joe Szilvagyi, Contributing Blogger

Album Review of PreCog: Are We Lost?

Throbbing synthesized bass, drum machines, and clean keyboards work together to create a rich texture that is comforting for fans of late ’80s synthpop. The press material included with the recording suggests a similarity to Depeche Mode, but I put it closer to the synthwave movement that came later including acts like Clan of Xymox or VNV Nation.

PreCog - We Are Lost

image courtesy of PreCog

It’s impressive to know that Gerald Josef and Jason Thomas just met each other at the tail end of 2015 and managed to record their entire 14-song album in a single month. They even managed to produce a slick music video for one of their strongest songs, “Little Evil.” These two clearly inspire and push each other when developing material.

In the tradition of the synthwave movement, the lyrics revolve around various struggles, either with inner demons or the world around us. This is also where the album is a bit dated and flat. While the lyrics are typical of the genre, the singsong presentation of the lyrics feels like a college paper discussing feelings rather than some deeply held conviction. In the end, the listener is enveloped with a comfortable experience that really doesn’t introduce much new to the genre.

There’s a lot of talent here and Gerald and Jason are clearly well-versed in how to produce music. I look forward to hearing what PreCog has to share in the future as the friendship between this duo ferments and their sound continues to develop.

You can find PreCog on Facebook here.

[Update: Thanks to PreCog for pointing out to us that the video  for “Little Evil” was fan-made. In many ways, that makes it even cooler! -GW]

Album Review: Apocalyptic Lovers – Redemption Volume I

Posted on by

Apocalyptic Lovers – Redemption Volume I

Apocalyptic Lovers

photo courtesy of Apocalyptic Lovers

The Backstory

Apocalyptic Lovers is the reformation of ’90s Youngstown, Ohio-based Love and War. I first wrote about Love and War in my old music publication after catching the band’s Undercurrents showcase in Cleveland in 1994. Subsequently, I reviewed the band’s Undercurrents ’95 set and its War Rages On album. In its early days, Geoff Wilbur’s Renegade Newsletter featured a “Best Unsigned Bands” section, and Love and War made the cut to be included.

Love and War disbanded about 20 years ago but reassembled as Apocalyptic Lovers at Mindrocket Studios in August 2015 to record together again. As buzz about the project grew, the band gained the attention of noted producer Michael Wagener (whose discography includes Motley Crue, Dokken, Poison, Metallica, Ozzy Osbourne, Megadeth, Janet Jackson, and many others), with whom the band gathered to mix the album in November.

Since Apocalyptic Lovers reformed and got back in touch with me, I’ve been anxiously awaiting this opportunity to review the new album.

Album Review of Apocalyptic Lovers: Redemption Volume I

Apocalyptic Lovers - Redemption Volume I

image courtesy of Apocalyptic Lovers

Old-school, blistering axework-filled, high and powerful vocals-driven, classic heavy metal. That’s Apocalyptic Lovers. The band’s style places it firmly on the heavier end of melodic metal, with driving drums, heavy, thumping bass lines, thundering, screaming guitar solos well-integrated within the songs, and forceful-without-shouting vocals that can soar as well.  As for the quality of the recordings, I’ve compared the new recordings to 20-year old versions, and the musicianship is even better, as is the recording quality (thanks in part, I’m sure, to Michael Wagener’s expert touch mixing the tracks).

Apocalyptic Lovers is what you’d call an arena rock band. Classic hard rock/metal music you’d expect to hear amid flashing lights at a large-stage concert club.

Though I probably wouldn’t have picked it as the biggest potential hit, heavy, pounding rocker “Killing for a Living” is the song I find most frequently randomly stuck in my head. Its hook isn’t completely obvious, but that makes it nonetheless deadly catchy.

Michael Wagener and Dave Hope

Michael Wagener in the studio with Apocalyptic Lovers’ Dave Hope; photo courtesy of Apocalyptic Lovers

“Change of Frequency” is one of those often (but not always) slow, anthemic heavy rockers. It’s not exactly a ballad, but it’s not a fast song, and its power and strength are built on its mostly-slow pace. It’s a slow-moving heavy metal sledgehammer with drums and axe taking turns doing the dirty work.

The most intriguing song, though, is “The Groove.” It’s a powerful, slow-rocking blues-based heavy rock number. It’s probably my favorite track on the disc, even though it’s not one that pops into my head. But I do love it while I’m listening to it.

The last of the eight tracks on this self-described EP, “Dying Day,” has an aggressive energy that signifies perhaps the angriest-sounding entry of the bunch. Oh, there’s still melody a plenty, and it sports a shredding guitar solo. But an aggressive feeling lurks behind the technical prowess.

From beginning to end, this is one heck of an album, entry one of a long-awaited, unexpected encore that’s really more of a renaissance for this ensemble. Of course, if you want to own this headbanging collection, you’ll have to wait until Saturday to buy it. Apocalyptic Lovers’ Redemption Volume I drops via download, disc, and vinyl on Saturday, April 16th – National Record Store Day.

What’s Next

Per its Facebook “save the date” announcement, Apocalyptic Lovers plans a live showcase/benefit concert on July 23, 2016, somewhere in Ohio, with city and venue to be determined.

The band’s recording plans include several more EPs (if you call 8 songs an EP) containing vintage Love and War material along with a few new songs.

Album Review: Cherry Suede – Between Here and There

Posted on by

Cherry Suede – Between Here and There

The Backstory

I first ran across Cherry Suede‘s music in late 2013, relatively early in my rediscovery of new music after a decade “on hiatus.” They were by far the best new melodic hard rock act I found during this time period, providing me with a new band to enjoy in the genre that has been my favorite since I was a teenager. In fact, a review of Between Here and There is somewhat difficult to write because I’ve played this album so many times; when I try to think of examples of bands the songs remind me of, the most obvious answer is “Cherry Suede.” But I’ll give it a shot…

Album Review of Cherry Suede: Between Here and There

I’d expect to see Cherry Suede on the road with FireHouse, Bon Jovi, Kix, and other energetic hard rock bands. At the same time, the band’s ballads are soft, powerful, and effective like Journey’s. Like so many hard rock bands of a certain era (actually, most of the rock ‘n roll era), the songs are largely about romance – looking for it, losing it, savoring it, and anguishing about it. But songwriting only matters if a band can back it up with musicianship, and from the vocals to the occasional blistering axework, Cherry Suede has that in spades.

blank CD

This particular album kicks off with an energetic weekend party song with a hint at fun or romance, “Saturday Night.” Oh, sure it starts softly and gently with a piano intro, but over the course of the song the energy builds and teases until it climaxes as a fun romp of guitars, energy, and expressive rock vocals. The energy of this song is eventually similar to Loverboy’s “Workin’ for the Weekend,” though the pace is a little slower and it’s stylistically purely Cherry Suede.

Energetic, cheerful rockers “I’ll Be Waiting” and “Life in a Day” are a couple of my personal favorites. Guitar riffs, well-placed solos, insistent, gruffly enthusiastic vocals. These are songs that would get a crowd up and dancing at an arena concert.

The band slows it down well, too. “Worth the Wait,” for example, hints at a little country twang in its guitar line, supporting an almost-pleading, powerful, explosive vocal track. Classic classic-rock ballad. “After the Rain (10.29.12),” meanwhile, has a bluesy vocal with a psychedelic slow rock sound bed; structurally reminiscent of an Enuff Z’Nuff ballad. And “Never Gonna Let You Go” is an extremely slow ballad with sort of a country-blues pace and style. Stylistically, Cherry Suede’s ballads cover a lot of ground.

Toward the end of the disc, “So Lonely” features ’60s rock harmonies and sports Beatles-ish songwriting. But close your eyes and picture the Partridge Family singing this one; I bet you can. Just something about the vibe.

In the end, Between Here and There is a top-shelf arena rock album. The band focuses on its songwriting and lyrics and possesses the chops to execute. Which brings me back to my Bon Jovi and FireHouse comparison. As with those bands, Cherry Suede is a guitar-based, song-driven rock band with a big enough sound to rock an arena, even on its ballads, with enough vocal and guitar oomph and talent to satisfy hard rockers and melodic light-metal fans but with crooning abilities to attract soft rock fans, too.

On the Road

Cherry Suede is currently on the road in the UK. Per the ticket purchase section of the band’s website, Cherry Suede’s remaining dates on its UK tour are: tonight, Saturday, April 2, at The Hug and Pint in Glasgow; Friday, April 8, at Cellar 35 in Aberdeen, and Friday, April 15, at The Underbelly in London.  After that, the band already has two gigs booked in Canada in the coming months: a Saturday, May 14, gig at La Vitrola in Montreal; and a Saturday, June 25, show at The Central in Toronto.

Album Review: Samantha Preis – Good News

Posted on by
Samantha Preis

photo courtesy of Samantha Preis

Samantha Preis – Good News

Album Review of Samantha Preis: Good News

Samantha Preis - Good News

image courtesy of Samantha Preis

Stylistically, Samantha Preis is a standard, piano-based jazz vocalist in the vein of Diana Krall or Jennifer (Zuffinetti) Denmark. Her rich, full, crisp, expressive voice is the sort that would sound equally well-placed at a piano bar, at a jazz club, or on a movie soundtrack. Or on the phonograph at night with a drink in hand and the love of your life by your side. Or – and it’s jazzy enough to pull this off – perhaps just your love at the moment. But wherever you hear Samantha’s voice, you know it’s going to be a classy evening.

From the opening notes of “Holiday” to start the album, the softness of Samantha’s delivery is belied by the accompanying crispness and power in her vocals, weaving a captivating journey through the lyrics.

Samantha Preis

photo courtesy of Samantha Preis

Parts of “Aristotle and Wine” remind me of Sheryl Crow’s “All I Wanna Do” vocals. Mostly just the tempo and delivery of certain segments. The song is just so smooth and sophisticated; it’s my early favorite from this collection.

Another attention-grabber is “Wood For Burning.” I can’t entirely figure out why this song snaps my ear to attention every time, but my primary suspects are its cadence and the sharp rising of the initial vocal lines. Unique to this album, which is so often so terrifically smooth, a variance from that specific style stands out.

Title track “Good News” is perhaps the next greatest showcase of sharpness of tone, though it’s mixed throughout this song, which otherwise rolls and sways perhaps more than most of its album-mates as the vocal line is typically smooth but also exceptionally lyrical.

Throughout Good News, including on standouts like “On Boylston” and “Here We Are,” the vocal precision, warmth of phrasing, and sense of how to move within the melody, as is second nature to a truly outstanding jazz vocalist, signifies that Samantha Preis is something special. I can’t wait to hear what she does next, both within each song and in the context of her career.

Samantha Preis

photo courtesy of Samantha Preis

Samantha’s Upcoming Gigs

Samantha’s upcoming performances are listed here on her website. Currently the only performance listed is an online concert on Wednesday, March 30th (3 pm New York time; 8 pm in London). And if you can’t catch that or want to see her perform live, be sure to check the website for yourself occasionally. Or sign up for her mailing list.