Reviews: Joe Bonamassa, Lucifer, Sammy Berrell, Trep (Reviews By Matt Bladen)

Joe Bonamassa – Time Clocks (Provogue/J&R Adventures)

The hardest working man in music returns with another album, his 16^th offering sees him yet again adapt like the musical chameleon he is. Whereas his 2020 release Royal Tea was very much inspired by the British Blues Explosion, Time Clocks is Bonamassa writing with no boundaries, drawing from years of experience and perseverance to the blues rock cause to make his most mature and cinematic album yet. Once again produced by Kevin Shirley, this time the album was mixed by Bob Clearmountain for a fluidity to the record, allowing each track to transition into the other seamlessly as if describing the passing of time or our journey through life.

This is reflected in the lyrical content, the album opening up with the driving Notches, the chorus declaring numerous times that Joe has “miles under my wheels, notches in my walking cane”, this been there done that, would do it all again attitude is present across the entire album as the tracks move between classic blues, arena ready rockers as well as adding soul, gospel, folk and anything else they can get in there. There’s a sense of occasion to this record, it’s an album with a scope that suits the man who is probably the biggest blues rock artist in the world, consistently creating not just for himself but as a producer/writer and more recently label owner.

Locked down in New York, he rediscovered that vitality and hunger that powered one of his early game changing albums Blues Deluxe which was recorded in New York while he was still in the struggling artist phase of his career. So now 20 years later Time Clocks is him reflecting on those intervening years and again taking inspiration from the city to make his ‘New York Record’. Joey Bones is at his best when he’s slinging one of the guitars taken from his extensive collection and howling at the moon with that distinctive vocal style. Notches is belting opener for this record, full of Zeppelin-isms but with a traditional blues heart. Curtain Call has this kind of rock monster sound favoured by Zeppelin, Purple et al. Notches is followed by the strutting groove of The Heart That Never Waits, giving you the other side of Bonamassa’s psych as rock god gives way to bluesman. This track also has those brilliant soulful backing vocals from Mahalia Barnes, Juanita Tippins, and Prinnie Stevens, as we get in the pocket laid down by bassist Steve Mackey and long time collaborator Anton Fig on drums.

Coming from that ‘New York Record’ influence we are taken into the incredible title track which could have been ripped from a Broadway cast recording, it would especially powerful in Dolby Atmos, the format which this album was mixed for. Along with Fig and Mackey, the record also features Lachy Doley on piano/organs, who ramps up those Hammond for the ballad stirring elemental Mind’s Eye. Bobby Summerfield takes the percussion on the funky Hanging On A Loser and Bunna Lawrie who adds that most rock n roll of instruments the didgeridoo. Time Clocks is Bonamassa showing that he won’t be relinquishing that blues rock titan moniker any time soon, expressive, poignant and driven by his passion for creating music, this is the voice (and guitar) of experience shining through. 9/10   

Lucifer – IV (Century Media)

On their fourth full length album, Stockholm-based occult proto-metal masters, leave no doubt in your mind where their allegiances lay. The album cover depicts frontwoman Johanna tied to a cross in a crucifixion scene with dark red light engulfing this image that may raise a few eyebrows in the Catholic Church. But then when the band name is Lucifer, this sort of blasphemy should be expected, as you’d guess, or would know had you heard albums I-III. Lucifer play the devil’s music, occult tinged 70’s proto-metal stemming from Black Sabbath, Pentagram and Blue Oyster Cult, just listen for those Buck Dharmaisms on Crucifix (I Burn For You). 

Previous outings have mainly featured writing from Johanna and Nicke Andersson (drums) at their The Honk Palace Studio but on IV, they have, for the first time expanded the song writing to include the other band members, guitarists, Linus Björklund and Martin Nordin mainly making for a much more collective effort, some of the production two being done at guitarist Linus Björklund’s studio. This collective effort allows for a few sonic experiments into dark folk, horror –tinged soul but mostly a lot of stomping, groovy rock n roll that sticks to the left hand path. The occult/horror themes are much more pronounced on this album too, from the cover art to the release date of Halloween, as well as the songs themselves all upping the spooky. 

Swirling organs give Hammer Horror vibes on Mausoleum, a track driven by Harald Göthblad’s bass fuzz before switching into the unnerving acoustic interlude of The Funeral Pyre that sets a path for the gothic swagger of Cold As A Tombstone. The guitar interplay between Linus and Martin is up there with of the best in this style, they feed off each other whether it’s on a pumping punk rock riff or a slower fluid piece of melody (Louise), their playing harking back to those 70’s glory days as Nicke again kicks the shit out his drum set, dropping in some fills and counter rhythms that you may not hear on first listen while Harald’s bass is the big, pulsating anchor for the whole record. 

Of course I’ve said tonnes about Johanna’s majestic, shamanic vocals before but on these darker hued tracks there’s menace behind the 70’s soulfulness. With the evilness increased on this fourth record Lucifer grow ever close to becoming the Manson Family of retro rocking, however only the music here kills (I hope). 9/10

Sammy Berell – Beyond The Veil (Dark Force Records)

Before we start I have to say that I understand when a newer/unknown artist is trying to break through, I try not to be too critical but believe me when I say that Beyond The Veil is probably one of the worst recorded albums I’ve heard this year. The production and mix is attempting to be ‘retro’ sounding like those Malmsteen records in the 80’s but it comes off as a little insipid and at times almost like the record is warped. A shame as Swedish guitarist Sammy Berell is obviously obsessed with playing the guitar and creating neo-classical music like his classical heroes such as Bach along with artists such as fellow countryman Yngwie. 

It’s the Malmsteen element that is what carries this album along, in fact it seems to almost become a shameless copy at times Berell having Göran Edman on his debut album and now featuring Mark Boals, both of whom are former Malmsteen vocalists. The music, much like Malmsteens, is self-indulgent fretboard wankery, that will lapped up by the Japanese market but for me would possibly have more of an impact if it didn’t sound like it was recorded underwater. Obviously talented and playing what he loves it’s difficult to criticize the man himself but as a musical exercise, Beyond The Veil, is a little too tiring. 5/10   

Trep - Renewed (Self Released)

When I pressed play on the latest EP from South Wales collective Trep, I'll admit that I originally thought that I might have been given the wrong album. What I was faced with was 5 track EP of alternative/groove metal that seems right at home in the early 2000's (and I had assumed had stayed there). Gone was intricate progressive notions of their debut EP, replaced with heavier riffs and fatter grooves. No wonder then that this EP is named Renewed as Trep sound like a totally different band here, while this may cause confusion to anyone that has listened to the band pre-pandemic, the shift in style was necessary as Trep lost their vocalist/guitarist so both were needed to round out the duo of drummer Max Hill and bassist Sam Green, the engine room and architects of Trep's new sound. 

To bring the riffs they tapped Declan McCabe (Blind Divide) while up front they brought in powerhouse Rachel Thomas who flirts between Skin and Cristina Scabbia as a vocal influence. She is a great singer for this style, while McCabe can crank out a riff, but don't expect a lot flashy solos. I really enjoyed Trep as the prog band they were, and while there is a lot of keys sitting in the background, it's not prog. Still this new sound is well performed by all involved, it's a style that I've never been overly fond of since it's early 2000's heyday. Still if those sounds of Godsmack, Sevendust and Breaking Benjamin still make you bounce about in your baggy jeans then you'll enjoy this refocussed, heavier Trep. 7/10