House Of Lords - Saints & Sinners (Frontiers Music Srl) [Matt Bladen]
Saints & Sinners is the 11th album from melodic rock veterans House Of Lords. Led by singer/producer/guitarist James Christian since their inception there have been many twists and turns in the road but for the last 19 years they have doing what they do best; arena rock with a strong melodic edge and huge chorus hooks. Similar stylistically and vocally to the more successful Def Leppard, who are clearly an influence on this album. Saints & Sinners is 11 slices of what House Of Lords do best, soaring vocals from Christian, tinkling keys/pulsing synths from Mark Mangold on House Of The Lord and Take It All.
These two are the creative force behind the album writing, recording and producing it, so they mastermind tracks such as the thrilling Road Warrior and Mistress Of The Dark, Jimi Bell's guitars and Johan Koleberg's drum rounding out the band. The are however one or two moments that confuse, Avalanche for example is VERY similar to Christina Perry's Jar Of Hearts, which doesn't make the song any worse but I found it really distracting, Angels Fallen is the biggest Def Leppard moment as Razzle Dazzle has a touch to Zep to it. Harking back to their 1989 debut Saints & Sinners is more melodic rock mastery from this American institution. 8/10
Fans Of The Dark - Suburbia (Frontiers Music Srl) [Matt Bladen]
Sweden's Fans Of The Dark follow up their 2021 debut with this "sequel" to their debut record. In the review for that I made mention of Dokken, Living Color and that the band had a distinct progness due to their sprawling style. Drummer Freddie Allen wanted to make a record that brought all the best parts of 70's & 80's rock music focusing on VHS horror films, teen culture, and the innate weirdness of the suburbs. Again he has superstar vocalist Alex Falk, guitarist Oscar Bromvall and bassist Rikard Gramfors for some retro rocking that's 8 tracks, two 8 minutes plus epics and influences from the Sunset Strip, the NWOBHM and all that came between.
Sweden's Fans Of The Dark follow up their 2021 debut with this "sequel" to their debut record. In the review for that I made mention of Dokken, Living Color and that the band had a distinct progness due to their sprawling style. Drummer Freddie Allen wanted to make a record that brought all the best parts of 70's & 80's rock music focusing on VHS horror films, teen culture, and the innate weirdness of the suburbs. Again he has superstar vocalist Alex Falk, guitarist Oscar Bromvall and bassist Rikard Gramfors for some retro rocking that's 8 tracks, two 8 minutes plus epics and influences from the Sunset Strip, the NWOBHM and all that came between.
It's a homage to the 80's kicking off with Night Of The Living Dead, making the first moments of this record very close to fellow Swedes Ghost as the creeping, choppy riff leads to the huge chorus. A tribute to the 1980 George A. Romero classic it opens this second record up well, reminding the listener of Fans Of The Dark's first record while adding a darker tone to this follow up. The Pirates Of Maine is the first longer song, a swashbuckling tale of adventure that keeps alive the influence of 80's movies, though they especially focus on fantasy and horror, with Fright Night and Sick! Sick! Sick! in the horror realm as Fantasia and The Goblin King (Labyrinth) from those fantasy realms.
Essentially it's an album about escapism, drawn from the way the members did so in the 80's, the lyrics inspired by movies the music inspired by some of the biggest bands of the era. If you're a fan of bands such as Ghost, Blue Oyster Cult, Unto Others and Volbeat then you'll enjoy this second album from Fans Of The Dark. 7/10
The 69 Eyes – Drive EP (Atomic Fire Records) [David G]
Finland’s The 69 Eyes have been plying their trade since 1989, and largely painted with a goth rock brush during that time. It is therefore somewhat surprising that this EP displays a greater affinity with 80’s rock. Sure, vocalist Jyrki 69 sounds just like Andrew Eldritch with that deep croon and the verses of these songs are ably carried by deep, rich basslines, but it mostly feels remarkably… upbeat?
Title track Drive has a slick echoing guitar intro, and sliding chord flavourings as it rattles along, it’s a passable melodic rock number, and ultimately somewhat inane. Call Me Snake has a slightly more ominous tone as the bass really sets things on edge, though I was laughing heartily when I realised it was a paean to the hero of Escape From New York. It’s a curious track for sure with the “na na na na na Nineteen Ninety Seven” stuttering and a series of slashing chords, and really this is the highlight of the EP.
Then we have California, something seemingly devised solely to insult your ears, this is truly a ridiculous load of tosh harking back to an era of radio rock best forgotten. With a hi-hat driven chorus and the most mind-numbingly banal lyrics you’re likely to hear this year, it poses the question: can something be both inoffensive and offensive? I think if that is possible California nails it. The physical release comes with a live rendition of a song called Two Horns Up, this is a bit more what I expected, a chugging rhythm and a slightly harder sound but also somewhat trite.
It’s fair to say this is a very lightweight release, being not much more than a novelty. Not a great sampler for the band, it leaves a rather shallow impression. 4/10
Trauma – Awakening (Massacre Records) [David G]
Trauma, one of the early San Franciscan speed/thrash bands, had an early four year burst in the 80’s before disappearing. Like countless other bands over the years Trauma reformed on the strength of cult reputation and eventually became an ongoing concern. It’s curious to see the fates of these bands reforming as you’d expect not all would be able to thrive, but based on the strength of this album Trauma are certainly doing alright.
Initially there’s a sense of that strong thrash history, which Walk Away channels through the snarled vocals of Brian Allen and the fast-paced bursts of bass drums, but soon you’re treated to a rather catchy chord progression in the chorus and clean/growled vocal dynamic that sounds like it owes a little to metalcore. It would be easy to throw out the term “progressive” as if that means something, but really there’s a melodic sensibility to the songs on offer that is quite enjoyable.
One of the highlights of the album Death Of The Angel gallops along in a slightly unbalanced fashion that, and it’s that off-kilter approach that really sells it, giving this an insistent and undeniable feel. It’s hard not to love the pacing offered by Kris Gustofson here, driving things along with briskness and punchiness, he allows the drama to unfurl as the guitar harmonies snake and Allen alternates between his hoarse growls and Halfordian wails. Equally taken am I with The River Red, which incorporates a slightly less-refined, but very capable Nevermore-ish vibe, and Maiden-esque vocal melodies. Also worthy of special mention is Death Machine the album closer that delivers the starkest, but also most mature attack; formed from quite disparate parts it comes together in a very satisfying manner.
It's not all as impressive, sadly Meat tries to introduce more groove and menace to the party in an unsuccessful manner. It’s clear to see what the intention is, and the diversity in the material is certainly one of the album’s strong points, but here there’s a slightly cringe-worthy nature to the delivery that baffles rather than unsettles. Then there is Voodoo, verging on the adolescent lyrically but throwing in a rather joyous groove that just about distracts.
Awakening is largely fun album that has an instant presence through its pacing and hooks but has enough depth for the roots to grow. Awkward moments aside there’s a lot to like here and an engaging dynamic approach; enough to hope that Trauma hang around for a while longer. 7/10
It’s fair to say this is a very lightweight release, being not much more than a novelty. Not a great sampler for the band, it leaves a rather shallow impression. 4/10
Trauma – Awakening (Massacre Records) [David G]
Trauma, one of the early San Franciscan speed/thrash bands, had an early four year burst in the 80’s before disappearing. Like countless other bands over the years Trauma reformed on the strength of cult reputation and eventually became an ongoing concern. It’s curious to see the fates of these bands reforming as you’d expect not all would be able to thrive, but based on the strength of this album Trauma are certainly doing alright.
Initially there’s a sense of that strong thrash history, which Walk Away channels through the snarled vocals of Brian Allen and the fast-paced bursts of bass drums, but soon you’re treated to a rather catchy chord progression in the chorus and clean/growled vocal dynamic that sounds like it owes a little to metalcore. It would be easy to throw out the term “progressive” as if that means something, but really there’s a melodic sensibility to the songs on offer that is quite enjoyable.
One of the highlights of the album Death Of The Angel gallops along in a slightly unbalanced fashion that, and it’s that off-kilter approach that really sells it, giving this an insistent and undeniable feel. It’s hard not to love the pacing offered by Kris Gustofson here, driving things along with briskness and punchiness, he allows the drama to unfurl as the guitar harmonies snake and Allen alternates between his hoarse growls and Halfordian wails. Equally taken am I with The River Red, which incorporates a slightly less-refined, but very capable Nevermore-ish vibe, and Maiden-esque vocal melodies. Also worthy of special mention is Death Machine the album closer that delivers the starkest, but also most mature attack; formed from quite disparate parts it comes together in a very satisfying manner.
It's not all as impressive, sadly Meat tries to introduce more groove and menace to the party in an unsuccessful manner. It’s clear to see what the intention is, and the diversity in the material is certainly one of the album’s strong points, but here there’s a slightly cringe-worthy nature to the delivery that baffles rather than unsettles. Then there is Voodoo, verging on the adolescent lyrically but throwing in a rather joyous groove that just about distracts.
Awakening is largely fun album that has an instant presence through its pacing and hooks but has enough depth for the roots to grow. Awkward moments aside there’s a lot to like here and an engaging dynamic approach; enough to hope that Trauma hang around for a while longer. 7/10
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