Three Days Grace - Alienation (RCA Records) [Matt Bladen]
Canadian rock band Three Days Grace now have two lead singers. Let me explain, originally formed with Adam Gontier on vocals, he left in 2013 replaced by Matt Walst, however in 2024 after a brief show where Gontier came back, discussions started and Adam was brought back into the group full time.
When you think about how well the 'Pumpkins United' version of Helloween has done then it makes for good business sense to appease the older fans and newer fans alike by having Adam sing his stuff and Matt sing his at gigs, it creates a bigger audience going forward for definite so I can certainly understand it.
Three Days Grace are a multi-platinum selling band as well as being “one of the most-streamed rock bands in the world” so it's a given that their music will appeal to the masses, with focus on heartfelt ballads, emotive radio rock.
Each song is written to go to number one on the Billboard chart so while those with heavier and more extreme tastes will turn their noses up at it, anyone who is a fan of this type of music and of course fans of Three Days Grace will approach this record with a cautious excitement as I'm not sure how well the dual vocals will work when I press play.
Titled Alienation, this record deals with inner collapse and outward defence, with lyrical inspiration from anxiety, addiction, heartbreak, disconnect from life, explored on Apologies especially where the electronic percussion propels the first ballad.
Titled Alienation, this record deals with inner collapse and outward defence, with lyrical inspiration from anxiety, addiction, heartbreak, disconnect from life, explored on Apologies especially where the electronic percussion propels the first ballad.
However Dominate is actually quite heavy so it makes an immediate impact. Adam and Matt share vocals well, both taking leads on individual songs but mostly they are in some form of unison. Beneath them Brad Walst's bass is a major component took keep that modern throb on tracks such as Mayday.
The passion of Kill Me Fast joined by some fuzzy synths in the background as Neil Sanderson is in charge of these electronic layers as well as locking down the rhythms section behind the drum kit, those riffs on tracks such as the title track, the melodies on In Waves or acoustics on Never Ordinary come from Barry Stock, the latter aided by some strings too.
The passion of Kill Me Fast joined by some fuzzy synths in the background as Neil Sanderson is in charge of these electronic layers as well as locking down the rhythms section behind the drum kit, those riffs on tracks such as the title track, the melodies on In Waves or acoustics on Never Ordinary come from Barry Stock, the latter aided by some strings too.
There's a decent balance between the rockers and the ballads, the songs are slick and well produced, the lyrics hit hard on Don't Wanna Go Home and Another Relapse and it's exactly what you would expect it to sound like.
Fans will love that both vocalists are now in the band, if not just to stop any division there may have been, they integrate well together and the band cans still crank out top selling radio rock. 7/10
Fans will love that both vocalists are now in the band, if not just to stop any division there may have been, they integrate well together and the band cans still crank out top selling radio rock. 7/10
Iron Savior - Reforged: Machine World (Reigning Phoenix Music) [Simon Black]
For the last few years Iron Savior have been ploughing a parallel track, and one which reminds the listener of why they are one of the most significant pillars of the history of power metal.
For my money power metal starts properly in its European form with Helloween despite the name not being applied until much later, but there’s several second generation acts who brought the genre into the public eye inspired by that originator, with Blind Guardian, Gamma Ray and Iron Savior probably being the most significant.
As always when you are an act that has been going a long time, there’s a sense in the public ear that your best years are behind you, but I would argue that in this instance that’s absolutely not the case.
Iron Savior have been in an interesting position of late of continuing to produce blisteringly good new and original material (2023’s Firestar was an absolute triumph) whilst simultaneously completely re-recording, nay re-imagining, their original slew of albums that have been lost in the rights hell that came when Noise International’s back catalogue went up for sale several times.
Iron Savior have been in an interesting position of late of continuing to produce blisteringly good new and original material (2023’s Firestar was an absolute triumph) whilst simultaneously completely re-recording, nay re-imagining, their original slew of albums that have been lost in the rights hell that came when Noise International’s back catalogue went up for sale several times.
The lesson here being that you can be influential, as this band are, but if not as commercially successful as label mates Helloween, then the exorbitant legal costs involved in resuscitating the originals is not worth the effort.
Hence their continuing strategy of completely re-recording these disks and rebranding them under the Reforged banner. This is now the third such release, and like its predecessor’s illustrates perfectly why they were so influential, whilst showing their continued relevance because these re-forges don’t simply replicate the past but re-arrange and add more modern sentiments and feeling to the recordings.
Hence their continuing strategy of completely re-recording these disks and rebranding them under the Reforged banner. This is now the third such release, and like its predecessor’s illustrates perfectly why they were so influential, whilst showing their continued relevance because these re-forges don’t simply replicate the past but re-arrange and add more modern sentiments and feeling to the recordings.
And let’s not forget that after thirty years no small amount of skill and experience get added to the mix, allowing the band to augment the original arrangements significantly with the flourishes of songwriting experience, not to mention the lessons learned from decades of playing the material to a live audience. Either way, as with it’s previous runs, this works exceedingly well.
All of the original albums dealt with a complex space age arc of stories about a self-aware spaceship but throughout the reforging process the band has flitted between tracks across the content of the first six albums in a seemingly random order, which means that no-energy needs to be spent trying to follow the storytelling.
All of the original albums dealt with a complex space age arc of stories about a self-aware spaceship but throughout the reforging process the band has flitted between tracks across the content of the first six albums in a seemingly random order, which means that no-energy needs to be spent trying to follow the storytelling.
This frees one up somewhat and means you can just enjoy the tracks for themselves, which is just as well because with a double album worth of material there’s a lot to get through. And because they can, the band also pepper the recordings with covers material that fits the original material, with Judas Priest’s Starbreaker being an inspired compatible addition to the set.
The consequence is that these sound like a fresh and energetic young band discovering the genre anew, and that infectiously spreads to the listener. 9/10
The consequence is that these sound like a fresh and energetic young band discovering the genre anew, and that infectiously spreads to the listener. 9/10
Supernaughty - Apocalypso (Ripple Music) [Rich Piva]
Livorno, Italy’s Supernaughty make the leap over to Ripple Music for their third, and best so far, album, titled Apocalypso. Supernaughty are masters of combining killer stoner grooves with all sorts of 90s grunge worship, with all some other bits of fun mixed in. On Apocalypso they have perfected their formula with the eight killer tracks that make up their new record.
The opener, Poseidon, has quite the groove and is all you want in your stoner rock. Great vocals, killer guitar work, a solid and tight rhythm section, and production that has really captured their sound perfectly. Black Witch Mountain is along the same vein, just a bit more up tempo and with even more riffs. Great stuff. I love the gallop to this one.
The opener, Poseidon, has quite the groove and is all you want in your stoner rock. Great vocals, killer guitar work, a solid and tight rhythm section, and production that has really captured their sound perfectly. Black Witch Mountain is along the same vein, just a bit more up tempo and with even more riffs. Great stuff. I love the gallop to this one.
Amsterdamned is about what you think it may be about (confirmed when the band were on the Rich & Turbo Heavy Half Hour) and one that starts to incorporate more of the grunge side of the band, as they are big Alice In Chains fans, and you can tell on this one.
Weird Science is also about what you think it may be about and has a very cool riff, with an almost “Scorpions do stoner rock” feel to it, and it very much works. Speaking of a track that gallops, Queen Of Babylon does just that, while kicking you ass at the same time.
Another excellent vocal performance on this track, as on all of them on Apocalypso. I love the middle quiet part on this one too. In(O)culation rips it up and has a very metal riff that is super chunky as well. This is the most crushing track on the record.
King Again is the most Seattle sounding track on Apocalypso, with the vocals purposely leaning towards the Layne and Jerry side of things, with excellent results. It is no wonder this is my favourite track on Apocalypso, especially when the pace picks up and the solo rips you in two. I also love the stoner rock heaviness on the closing title track. A fitting way to end what is the best record of their career so far.
Supernaughty and Ripple Music are a perfect match, especially give how great Apocalypso is. A lot stoner, some grunge, a dash of classic metal, a boatload of fun, and one ripper of a record. 8/10
Supernaughty and Ripple Music are a perfect match, especially give how great Apocalypso is. A lot stoner, some grunge, a dash of classic metal, a boatload of fun, and one ripper of a record. 8/10
Otherwise has dropped Some Kind Of Alchemy which is a 6 track EP of nostalgic hard rock reminiscent of the mainstream rock we heard in the late 2000s, with tracks that sound like they should be featured on Tony Hawk Pro Skater.
They're fast paced, upbeat and very enjoyable. The vocals are clean and smooth, complimented with signature crisp guitar solos and heavy drum rhythms. Each track feels expert and refined which is not surprising since Adrian and Ryan Patrick have been around for just over 20 years, they still know how to get us moving.
A personal favorite from this album is Shapes Of Metal, its melodic and gentle with a catchy chorus and features vocal layering and a powerful metal scream vocal which serves as a breakdown near the end.
A personal favorite from this album is Shapes Of Metal, its melodic and gentle with a catchy chorus and features vocal layering and a powerful metal scream vocal which serves as a breakdown near the end.
Some Kind Of Alchemy offers a smoother and somewhat gentler tone to their past creations, this one prioritizes vocals with instrumentals being complimentary rather than in the limelight. Emerson Road is a stunner almost acoustic in feel and vastly differs from its counterparts and works well as an album closer.
Overall, Otherwise has brought us another good one, it’s well produced and catchy though vanilla at times. It’s not my specific taste however i can see the appeal. 6/10
Overall, Otherwise has brought us another good one, it’s well produced and catchy though vanilla at times. It’s not my specific taste however i can see the appeal. 6/10
No comments:
Post a Comment