People tend to assume I'm a bit of a miserable git as I don't normally like anything that isn't multi-genre weirdness or soaked in feedback, but I do also have a secret (not so secret) love for 80s hair and sleaze metal. So from the get-go, I was so on board when I started listening to the fabulously named John Diva And The Rockets Of Love's album Mama Said Rock Is Dead. Opening track Whiplash harkens back to the good old days where guitar riffs ripped, choruses were big and hooky and a somewhat self-indulgent guitar solo was welcome with open arms. Next track Lolita could have easily been a hit in the late-80s, a Van Halen-type groove and a catchy play on the "Labamba" vocal delivery in the chorus "Lo-Lo-Lo-Lo-Lolita," is infectious.
The third track on the album came as quite a surprise but shows the versatility of the commercial appeal of this band. Opting for a more country/Americana influence in Rock And Roll Heaven, the band channel the likes of Kid Rock and Black Stone Cherry. Electric drums and a clear clean acoustic main guitar riff mix well with a massive crushing modern rock sound. The song's chorus is memorable and, with the addition to an audience participation-baiting clap-along section, I found myself singing along gleefully. A nostalgic would-have-been hit in the past followed by a modern rock single was a great way to start this album.
Now the business part of the album is out of the way it's time for John Diva and Co. to show us what they really do best... the 80s. The band started life as an 80s Rock Tribute Show, much like much-loved comedy metal band Steel Panther, unlike Panther however they've decided to write loving tributes to those influences rather than parodying them. The following tracks of the album play out as love letters to the following bands respectively; 1987-era Whitesnake, Slippery When Wet-era Bon Jovi, Hysteria-era Def Leppard. This isn't inherently a bad thing, and it demonstrates a deep love and understanding of the music of said bands.
Fire Eyes contains a gloriously OTT guitar solo, but other than that I felt the album loses steam towards the end. Overall John Diva And Rockets Of Love demonstrate on this album that they can not only sound like their beloved heroes of the 80s but can write songs that wouldn't sound out of place on those bands' setlists, while also still managing to bust out a single in Rock And Roll Heaven that could easily be a commercial hit in this day and age. It may not be high art, but it put me in a good mood for the rest of the day. 8/10
The Fuzz Dogz: Basement Blues Pt.1 (1106302 Records DK)
With a name like The Fuzz Dogz I got exactly what I was expecting and hoping for when I first listened to Basement Blues Pt. 1 and perhaps it was due to it being my day off in combination with the first of the year's real sun hitting my face as opening track Voodoo Heart kicked in I smiled as I was treated to a delicious slice of Sabbath-Esq. heavy, fuzz-toned, stoner rock. The riff is blues-based and the likes of which Butler and Iommi could have very well cranked out back in their heyday. The vocals and melodies are powerful and catchy and within the first few minutes of this album, we are treated to a perfect, middle of the afternoon, sun-soaked festival banger. My comparisons to the 70s don't end there, track two No Good sees a quieter vocal delivery more in the vein of the likes of Budgie and Led Zeppelin in both their quieter passages, but then building to a chorus that feels closer to Corrosion Of Conformity.
Now the business part of the album is out of the way it's time for John Diva and Co. to show us what they really do best... the 80s. The band started life as an 80s Rock Tribute Show, much like much-loved comedy metal band Steel Panther, unlike Panther however they've decided to write loving tributes to those influences rather than parodying them. The following tracks of the album play out as love letters to the following bands respectively; 1987-era Whitesnake, Slippery When Wet-era Bon Jovi, Hysteria-era Def Leppard. This isn't inherently a bad thing, and it demonstrates a deep love and understanding of the music of said bands.
Fire Eyes contains a gloriously OTT guitar solo, but other than that I felt the album loses steam towards the end. Overall John Diva And Rockets Of Love demonstrate on this album that they can not only sound like their beloved heroes of the 80s but can write songs that wouldn't sound out of place on those bands' setlists, while also still managing to bust out a single in Rock And Roll Heaven that could easily be a commercial hit in this day and age. It may not be high art, but it put me in a good mood for the rest of the day. 8/10
The Fuzz Dogz: Basement Blues Pt.1 (1106302 Records DK)
With a name like The Fuzz Dogz I got exactly what I was expecting and hoping for when I first listened to Basement Blues Pt. 1 and perhaps it was due to it being my day off in combination with the first of the year's real sun hitting my face as opening track Voodoo Heart kicked in I smiled as I was treated to a delicious slice of Sabbath-Esq. heavy, fuzz-toned, stoner rock. The riff is blues-based and the likes of which Butler and Iommi could have very well cranked out back in their heyday. The vocals and melodies are powerful and catchy and within the first few minutes of this album, we are treated to a perfect, middle of the afternoon, sun-soaked festival banger. My comparisons to the 70s don't end there, track two No Good sees a quieter vocal delivery more in the vein of the likes of Budgie and Led Zeppelin in both their quieter passages, but then building to a chorus that feels closer to Corrosion Of Conformity.
The next couple of tracks display lots of moments that felt a cut above the rest of the stoner rock crowd, particularly in the band's use of vocal harmonies, something I feel most stoner/doom rock could do with more of. However each blues-based jam began to merge into one in my head, that was until... Demons Loose, beginning with a clean almost Spaghetti Western-infused guitar line then morphing into an unusual riff and song structure, the song eventually builds to a climax that sounds how I imagine a descent into madness might feel. The change in pace from the rest of the tracks so far made my ears prick back up just in time for another bombastic Stoner Rock anthem in Crossroads, another retelling of the classic Robert Johnson "selling one's soul to the devil" at the crossroads lyrical theme, the chorus brilliantly paraphrases the Sabbath best of... compilation title "I sold my soul for rock and roll" it may be cheesy as hell on paper but the Fuzz Dogz deliver it with a patented brand of heavy blues riffs, it is infectious and instantly shout-along-able.
Final track El Fundador feels somewhat unnecessary after the anthemic Crossroads, it feels like a final climax for the album is never delivered. Overall Basement Blues Pt 1. is a solid stoner rock album for fans of either the 70s originators or the more recent wave of doom metal. The high points are very high and the rest is worth a listen on a lazy day off with a couple of drinks... preferably in the sun, shall definitely crank this album back out when it's BBQ weather again. 8/10
8mm: Heart Shaped Hell (ChelseaGirl Records)
Heart Shaped Hell is a 5 song EP/Mini-album from industrial-pop duo 8mm. The group formed of Grammy-nominated multi-instrumentalist Sean Beaven, who had previously worked with the likes of Nine Inch Nails and Marylyn Manson, and wife, vocalist Juliette Beaven can boast being one of the most licensed bands on film and television, previously having songs of there's featured on critically acclaimed shows such as "Dirty Little Liars", “Grey’s Anatomy”, “Nip/Tuck”, and “Nikita.” So it came as no surprise that while enjoying opening track Self-Inflicted Heartache, I did find myself imagining it playing in the background of a car commercial.
Track Two Super Crush features a grunge-y riff played on both guitar and a fat synth tone, as well as quite a brief but tasty pitch shifting guitar solo adding a new flavour to the expansive repertoire of sounds 8mm have to their disposal. The title track sees the duo bridge into Trip-Hop with soothing electro beats and a hypnotic bass line. If I had to describe this band in genre terms I'd call them Grunge Electro-Pop.
Final song of the EP Move With Me, begins with a noise-scape of moody synthesizers that wouldn't sound too out of place on a Nine Inch Nails album, which makes sense based on Beaven's previous work experiences, the discordant noise builds slowly into a mellow pop track that doesn't quite deliver the song I was expecting from such a slowly built-up introduction. While I did very much enjoy the discordant noise section, the rest of the song, however, just sort of along floats along to a close.
While I did actively enjoy this collection of songs and the duo are clearly very talented, I feel that this music is consumed best while "on in the background" or even "on in the background of a TV show, that's on in the background." 6/10
Stone Blue Electric: Speaking In Volumes (Self Released)
This reviewer has a sort of "Emergency Power" mode that I tend to go into when reviewing something that isn't necessarily to my taste, but at the same time clearly has some form of merit. I ask myself "Who is this for?" and try to put myself in the shoes of this music's key demographic in order to give it a fair review. I felt this way with Helsinki's own Stone Blue Electric, a perfectly competent hard rock band who I feel have chosen to model their sound on Classic American Rock Radio. I got the feeling that I might not be Stone Blue Electric's target audience by the title of the opening track, Generation Snowflake (referring to the derogatory term used to describe overly sensitive and/or politically correct Millennials) seeing as I am likely considered by most to be one of said generation.
8mm: Heart Shaped Hell (ChelseaGirl Records)
Heart Shaped Hell is a 5 song EP/Mini-album from industrial-pop duo 8mm. The group formed of Grammy-nominated multi-instrumentalist Sean Beaven, who had previously worked with the likes of Nine Inch Nails and Marylyn Manson, and wife, vocalist Juliette Beaven can boast being one of the most licensed bands on film and television, previously having songs of there's featured on critically acclaimed shows such as "Dirty Little Liars", “Grey’s Anatomy”, “Nip/Tuck”, and “Nikita.” So it came as no surprise that while enjoying opening track Self-Inflicted Heartache, I did find myself imagining it playing in the background of a car commercial.
Track Two Super Crush features a grunge-y riff played on both guitar and a fat synth tone, as well as quite a brief but tasty pitch shifting guitar solo adding a new flavour to the expansive repertoire of sounds 8mm have to their disposal. The title track sees the duo bridge into Trip-Hop with soothing electro beats and a hypnotic bass line. If I had to describe this band in genre terms I'd call them Grunge Electro-Pop.
Final song of the EP Move With Me, begins with a noise-scape of moody synthesizers that wouldn't sound too out of place on a Nine Inch Nails album, which makes sense based on Beaven's previous work experiences, the discordant noise builds slowly into a mellow pop track that doesn't quite deliver the song I was expecting from such a slowly built-up introduction. While I did very much enjoy the discordant noise section, the rest of the song, however, just sort of along floats along to a close.
While I did actively enjoy this collection of songs and the duo are clearly very talented, I feel that this music is consumed best while "on in the background" or even "on in the background of a TV show, that's on in the background." 6/10
Stone Blue Electric: Speaking In Volumes (Self Released)
This reviewer has a sort of "Emergency Power" mode that I tend to go into when reviewing something that isn't necessarily to my taste, but at the same time clearly has some form of merit. I ask myself "Who is this for?" and try to put myself in the shoes of this music's key demographic in order to give it a fair review. I felt this way with Helsinki's own Stone Blue Electric, a perfectly competent hard rock band who I feel have chosen to model their sound on Classic American Rock Radio. I got the feeling that I might not be Stone Blue Electric's target audience by the title of the opening track, Generation Snowflake (referring to the derogatory term used to describe overly sensitive and/or politically correct Millennials) seeing as I am likely considered by most to be one of said generation.
However much like Jetboy's overly vague political statement from last week's set of reviews (See link; https://musipediaofmetal.blogspot.com/2019/02/reviews-trollfest-jetboy-thomas-silver.html?m=1&fbclid=IwAR1yL35PoaUIeaElGTlmPjsVwYRI4qTXTGUFlgUfxZWGZd0Fw57TUr8zVYo)
Generation Snowflake doesn't really have much of a statement to make and just feels like the band is using a buzz-phrase in order to make their music seem current. Moving on, however, track 2 GYDIAR really sums up this band's sound quite well, which I have chosen to describe as "Cheap Foos" that is, somewhere on the musical spectrum between Cheap Trick and The Foo Fighters. A great driving rock song that brought to mind the classics of old while showing a definite influence of the Alt-Rock guitar sound and riffs of the likes of Mr. Grohl and Co.
Generation Snowflake doesn't really have much of a statement to make and just feels like the band is using a buzz-phrase in order to make their music seem current. Moving on, however, track 2 GYDIAR really sums up this band's sound quite well, which I have chosen to describe as "Cheap Foos" that is, somewhere on the musical spectrum between Cheap Trick and The Foo Fighters. A great driving rock song that brought to mind the classics of old while showing a definite influence of the Alt-Rock guitar sound and riffs of the likes of Mr. Grohl and Co.
Later highlights include the excellently catchy Screaming At The Disco, a punchy power pop anthem dealing with the ever-popular lyrical topic of electronic dance and pop music being overly rampant in the mainstream in the place of Rock'n'Roll, and animosity towards that being the case. Not much else on the album grabbed me unfortunately, tracks seemed to fit into two separate categories, either, fairly generic driving rock songs or, slightly cringe-worthy ballad territory (Hey Sue, and closing power ballad Month Of June being prime examples) However, as stated at the beginning of this review, I ask myself "Who is this for?" if not to my tastes. This album I imagine would be perfect for a cross country road trip through middle America (which is impressive considering the band is Finnish) and would not at all sound out of place on Stateside Rock Radio, Stone Blue Electric fill this niche nicely. 6/10
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