Nick Oliveri - N.O. Hits At All Vol.8 (Heavy Psych Sounds) [Joe Guatieri]
N.O. Hits At All Vol.8 presents one of the latest offerings in Nick Oliveri’s compilation series, including collaborations, covers and demos, all of which Nick appears on.
This volume contains seven tracks, starting with the opener Chains And Shackles, which features legendary musicians such as Slash of Guns N’ Roses fame on guitar, everybody’s drummer Josh Freese and super producer Eric Valentine. This is the most metal song on the record, featuring fast riffs and incorporating cool vibrato-induced solos and interesting flourishes.
Track Four, a Ringo Starr penned track called Back Off Boogaloo, is my favourite song on the record, one that feels like spending a night drinking at a dangerous, dingy old Western Bar. This song is fascinating with how it proceeds, making me want to listen in closer to the rickety drums and a retro-sounding organ, which encourages a dance to its classic plinky plonky style. Everything else around the track feeds into the atmosphere perfectly, including a guitar situated more to the back, which feels very intense as if a stand-off will happen at any second.
No word of a lie - I freaked out when I saw She Wanted To Leave in the track listing. Nick Oliveri, one of my favourite musicians, covering Ween, a band that I love so dearly, is a dream. This cover does some justice by incorporating a tease at the psychedelic effects used throughout The Mollusk, burying the vocals in deep ocean blue. Whilst it feels very relaxing, it can never touch the original; I would kill for a weird guitar solo from Dean Ween here.
Overall, there are a surprising amount of acoustic songs on this volume, but they all do something strange to fit Nick’s vibe. No filler, just a man showing love for what he does best. 7/10
Nick Oliveri - N.O. Hits At All Vol.9 (Heavy Psych Sounds)n [Joe Guatieri]
This volume contains seven tracks, starting with the opener Chains And Shackles, which features legendary musicians such as Slash of Guns N’ Roses fame on guitar, everybody’s drummer Josh Freese and super producer Eric Valentine. This is the most metal song on the record, featuring fast riffs and incorporating cool vibrato-induced solos and interesting flourishes.
Track Four, a Ringo Starr penned track called Back Off Boogaloo, is my favourite song on the record, one that feels like spending a night drinking at a dangerous, dingy old Western Bar. This song is fascinating with how it proceeds, making me want to listen in closer to the rickety drums and a retro-sounding organ, which encourages a dance to its classic plinky plonky style. Everything else around the track feeds into the atmosphere perfectly, including a guitar situated more to the back, which feels very intense as if a stand-off will happen at any second.
No word of a lie - I freaked out when I saw She Wanted To Leave in the track listing. Nick Oliveri, one of my favourite musicians, covering Ween, a band that I love so dearly, is a dream. This cover does some justice by incorporating a tease at the psychedelic effects used throughout The Mollusk, burying the vocals in deep ocean blue. Whilst it feels very relaxing, it can never touch the original; I would kill for a weird guitar solo from Dean Ween here.
Overall, there are a surprising amount of acoustic songs on this volume, but they all do something strange to fit Nick’s vibe. No filler, just a man showing love for what he does best. 7/10
Nick Oliveri - N.O. Hits At All Vol.9 (Heavy Psych Sounds)n [Joe Guatieri]
N.O. Hits At All Vol.9 continues in Nick Oliveri’s long-running compilation series with another entry featuring more demos than ever - most originally appearing on Mondo Generator’s fantastic record We Stand Against You.
Track seven, Conspiracy, my favourite on We Stand Against You, pivots with a frenetic Punk introduction before re-entering its previous groove. It feels slower than the original, making for more space to play around in with lots of little eccentricities to keep things interesting, whilst the drums add tones of flair with unexpected ghost notes flawlessly executed. Within the slow-down period, things feel more psychedelic, with multiple layers of guitars placed on each other in swirling effect before another raging climax to end the song. It’s an interesting take on the song with good ideas peppered in, but I still think that the album version is better than this one.
The following track Consider Me is my favourite song on the album, being dedicated to Nick’s long-time friend and a hero of mine, the man who wrote this song, Mark Lanegan. Two acoustic guitars dance with each other in the wind as one makes a call out in the atmosphere to the original but I also think that at the same time, it’s a wink and a nod to the legendary song Strange Religion on the Bubblegum album by the Mark Lanegan Band also. This for me is one of the most beautiful performances that Nick has ever done and it is so emotional in every single aspect. This in all is a tribute of the highest regard and feels like a warm but tearful hug, Rest In Peace Mark Lanegan.
Going from there into the final track, Take Aim, a collaboration between Nick, who takes vocal duties, and stoner rock favourites Nebula, who handles the instrumentation. The stupendous slow groove performed here has the perfect build with a sludge metal feel, using synthesizers of all shapes and sizes in the background. It feels like a spaceship has stalled in orbit before being set free on its journey again.
Overall, N.O. Hits At All Vol.9 continues to show that Nick Oliveri only gets better with age and is always challenging himself. 7/10
Track seven, Conspiracy, my favourite on We Stand Against You, pivots with a frenetic Punk introduction before re-entering its previous groove. It feels slower than the original, making for more space to play around in with lots of little eccentricities to keep things interesting, whilst the drums add tones of flair with unexpected ghost notes flawlessly executed. Within the slow-down period, things feel more psychedelic, with multiple layers of guitars placed on each other in swirling effect before another raging climax to end the song. It’s an interesting take on the song with good ideas peppered in, but I still think that the album version is better than this one.
The following track Consider Me is my favourite song on the album, being dedicated to Nick’s long-time friend and a hero of mine, the man who wrote this song, Mark Lanegan. Two acoustic guitars dance with each other in the wind as one makes a call out in the atmosphere to the original but I also think that at the same time, it’s a wink and a nod to the legendary song Strange Religion on the Bubblegum album by the Mark Lanegan Band also. This for me is one of the most beautiful performances that Nick has ever done and it is so emotional in every single aspect. This in all is a tribute of the highest regard and feels like a warm but tearful hug, Rest In Peace Mark Lanegan.
Going from there into the final track, Take Aim, a collaboration between Nick, who takes vocal duties, and stoner rock favourites Nebula, who handles the instrumentation. The stupendous slow groove performed here has the perfect build with a sludge metal feel, using synthesizers of all shapes and sizes in the background. It feels like a spaceship has stalled in orbit before being set free on its journey again.
Overall, N.O. Hits At All Vol.9 continues to show that Nick Oliveri only gets better with age and is always challenging himself. 7/10
The Rods – Rattle The Cage (Massacre Records) [Paul Hutchings]
Back in 2021, I reviewed the reissues of The Rods second and third albums, The Rods, and Wild Dogs. They transported me back to a time when I was young, had hair, and my biggest worry was about what vinyl to buy with that hard earned pocket money. It was some surprise to finds that they had released Brotherhood Of Metal (reviewed by the Ed here) in 2019. So, five years since that album, and 44 years since debut release Rock Hard, The Rods are back with Rattle The Cage.
It's pleasing to see that The Rods retain original members David “Rock” Feinstein on vocals and guitars and drummer Carl Canedy, along with bassist Freddy Villano (Quiet Riot, Widowmaker). I described them as a “harder edged KISS” with lyrics that a teenage boy would appreciate in that review, but they are now present more akin to Anvil and Manowar in many respects. Even though Feinstein is a cousin of the legendary Roinnie James Dio, the lyrics remain the weakest link within the band.
Back in 2021, I reviewed the reissues of The Rods second and third albums, The Rods, and Wild Dogs. They transported me back to a time when I was young, had hair, and my biggest worry was about what vinyl to buy with that hard earned pocket money. It was some surprise to finds that they had released Brotherhood Of Metal (reviewed by the Ed here) in 2019. So, five years since that album, and 44 years since debut release Rock Hard, The Rods are back with Rattle The Cage.
It's pleasing to see that The Rods retain original members David “Rock” Feinstein on vocals and guitars and drummer Carl Canedy, along with bassist Freddy Villano (Quiet Riot, Widowmaker). I described them as a “harder edged KISS” with lyrics that a teenage boy would appreciate in that review, but they are now present more akin to Anvil and Manowar in many respects. Even though Feinstein is a cousin of the legendary Roinnie James Dio, the lyrics remain the weakest link within the band.
The press release states that the songs tell of ‘hope and resiliency in the face of an ever-changing world’. I suppose that is a fair summary, but whilst I can comfortably listen to a high-quality power metal outfit singing about dragons, monsters, and the world of heavy metal, machismo pretence makes my skin crawl. It’s that same itching that appears for tracks like Cry Out Loud, Metal Highways and Rattle The Cage. Posturing, leather bound gestures was acceptable in the early 1980s, but in 2023 this music sounds a little dated to say the least.
Having said that, if you take the edge lord cloak off, and approach it with a smile, then there is enough to enjoy here to make it fun. And you must take The Rods with a pinch of salt. What they do, they do well. The music is well played, albeit that it is the basic traditional heavy metal with thick riffs, thunderous drums and the macho posing that you probably expect as standard. Listen to Can’t Slow Down, with the lyrics “My motor’s cranking, ready to explode, hell and fire, is where I’m bound, it’s such a rush, I just can’t slowdown”. It isn’t winning the deep and meaningful award of 2024 by any stretch.
I’m not sure what direction The Rods are heading down at this stage in their musical journey. Perhaps the fact that a legacy band from the 1980s is still producing music is enough. Will the likes of Metal Highways and Play It Loud with their metal-soaked lyrics attract a new wave of fans? It’s hard to say, although there are likely to be many of a certain age who will find this release worth a listen. Ultimately, the choice is of course yours. For me, it’s worth a listen if only to touch base with a band who were close to the big time in 1981, and who have lived their entire lives in the world of metal. For that alone, they deserve respect. 6/10
Breaths - Melt Away (Self Released) [Mark Young]
A change of pace, with a touch of Shoegaze/Doomgaze from Breaths, the solo project from Multi-instrumentalist Jason Roberts. This 4-track EP is a taster for the upcoming full-length due later this year.
Having said that, if you take the edge lord cloak off, and approach it with a smile, then there is enough to enjoy here to make it fun. And you must take The Rods with a pinch of salt. What they do, they do well. The music is well played, albeit that it is the basic traditional heavy metal with thick riffs, thunderous drums and the macho posing that you probably expect as standard. Listen to Can’t Slow Down, with the lyrics “My motor’s cranking, ready to explode, hell and fire, is where I’m bound, it’s such a rush, I just can’t slowdown”. It isn’t winning the deep and meaningful award of 2024 by any stretch.
I’m not sure what direction The Rods are heading down at this stage in their musical journey. Perhaps the fact that a legacy band from the 1980s is still producing music is enough. Will the likes of Metal Highways and Play It Loud with their metal-soaked lyrics attract a new wave of fans? It’s hard to say, although there are likely to be many of a certain age who will find this release worth a listen. Ultimately, the choice is of course yours. For me, it’s worth a listen if only to touch base with a band who were close to the big time in 1981, and who have lived their entire lives in the world of metal. For that alone, they deserve respect. 6/10
Breaths - Melt Away (Self Released) [Mark Young]
A change of pace, with a touch of Shoegaze/Doomgaze from Breaths, the solo project from Multi-instrumentalist Jason Roberts. This 4-track EP is a taster for the upcoming full-length due later this year.
Shoegaze, from bands such as Ride, Lush and early luminaries such as My Bloody Valentine were everywhere in the UK press up to around 91 or 92 then just disappeared or so I thought. I never really got into it then, my main music feeds were either Thrash / death, with grunge added to it later as it got popular and took over in the music press, later to be supplanted by Brit-pop (ugh) and onto the next etc etc. Anyway, none of this is important, what the music like?
Well, as you might expect Fade Apart just floats in with vocals that flutter as if moved by the wind. Its dreamy, expansive and certainly evokes memories, not just of the early 90’s but of that moody synth music that was prevalent in the UK in the 80’s. It’s a beautifully put together piece that is a brilliant opener to the EP.
Barbarella (melt away) goes differently, with a serrated saw tooth guitar riff that rises to a gorgeous chord change that makes the hair stand up on your arms. Sound wise vocals are delivered subtly, even within that aforementioned chorus when it goes just a shade darker it still sounds of its influences whilst being its own beast. That central riff has this discord, or bend to it which just gives it something more than just a simple strum-along.
Shaken ends the EP, with a dive into more of the melancholic side with a lumbering riff and a drum heavy quiet section. His vocals are doing a lot of the heavy work to take your focus off the arrangement at play. The vocal performance here, as with the other songs are delivered just right to suit this style of music. As a selection from the upcoming full-length release, you can only hope that the rest of the material is as good as this.
Within a few beats Tomorrow Will Mend’s intro reminds me not only of Guns N Roses but also Billy Idol, the moments are brief but having played the track a few times I couldn’t shake that feeling, quite frankly though the rest of the track isn’t as thought provoking. Grant Me Your Peace, track three upon the album, was released as a single late last year and vocally at times actually reminded me of Tiamat’s Johan Edlund, yet another Swedish artist. Lit De Parade has one of the best and most wasted intros on the album, I believe the melody is repeated later in the song but by then the melancholy nature of it is lost, that refrain pops up again as an outro but I still feel it’s a wasted opportunity.
At this midway point in the album I find that there is potential in some of these tracks, providing that they develop that sound a bit more, adding a few more synth/keyboard flourishes could add ambience to songs that I’m personally, increasingly becoming uninterested in.
I’m sure that this sound and style is exactly what the band are after but for me I’m finding a lack of depth that could, in my mind, be easily remedied, to great effect. Crossing Over begins with a simple bass and drum pattern and more piano, it’s quite a stripped back track that despite its simplicity holds my interest, the last 40 seconds brings back the guitar which feels right but also wrong at the same time.
It’s an album full of unfulfilled promise for me unfortunately, the most interesting parts were the welcome piano, a touch of GNR, not only within the aforementioned track but also within the font on the album artwork and a little note or two that reminded me of Billy Idol’s Rebel Yell. 5/10
Well, as you might expect Fade Apart just floats in with vocals that flutter as if moved by the wind. Its dreamy, expansive and certainly evokes memories, not just of the early 90’s but of that moody synth music that was prevalent in the UK in the 80’s. It’s a beautifully put together piece that is a brilliant opener to the EP.
Barbarella (melt away) goes differently, with a serrated saw tooth guitar riff that rises to a gorgeous chord change that makes the hair stand up on your arms. Sound wise vocals are delivered subtly, even within that aforementioned chorus when it goes just a shade darker it still sounds of its influences whilst being its own beast. That central riff has this discord, or bend to it which just gives it something more than just a simple strum-along.
This theme is expanded on with Waves which has that summer feel when Jason backs off the fuzz. The grasp he has on the material, the way he wants to deliver it and the way it shines through, taking on first listen simple arrangements but when you dig a little you get the little touches that makes Waves such a cracking track.
Shaken ends the EP, with a dive into more of the melancholic side with a lumbering riff and a drum heavy quiet section. His vocals are doing a lot of the heavy work to take your focus off the arrangement at play. The vocal performance here, as with the other songs are delivered just right to suit this style of music. As a selection from the upcoming full-length release, you can only hope that the rest of the material is as good as this.
What I would say is that of the four tracks, three are similar in execution but it doesn’t feel like they are repeating the same ideas. Each of them remind me of music heard but I couldn’t tell you who they sounded like and that is probably a good thing. If you are a fan of this genre, then you should definitely get onboard here and support because this is a cracking EP to drop this early in the year. 8/10
The Vice - Dead Canary Run (Noble Demon) [James Jackson]
Another Future kicks off the latest album by Swedish act The Vice, there’s a Hard Rock feel to the track alongside a Goth Rock element that brings to mind the music of Moonspell, particularly within the semi growl, of the vocals, that accent lending itself to the overall Goth aesthetic.
The Vice - Dead Canary Run (Noble Demon) [James Jackson]
Another Future kicks off the latest album by Swedish act The Vice, there’s a Hard Rock feel to the track alongside a Goth Rock element that brings to mind the music of Moonspell, particularly within the semi growl, of the vocals, that accent lending itself to the overall Goth aesthetic.
Within a few beats Tomorrow Will Mend’s intro reminds me not only of Guns N Roses but also Billy Idol, the moments are brief but having played the track a few times I couldn’t shake that feeling, quite frankly though the rest of the track isn’t as thought provoking. Grant Me Your Peace, track three upon the album, was released as a single late last year and vocally at times actually reminded me of Tiamat’s Johan Edlund, yet another Swedish artist. Lit De Parade has one of the best and most wasted intros on the album, I believe the melody is repeated later in the song but by then the melancholy nature of it is lost, that refrain pops up again as an outro but I still feel it’s a wasted opportunity.
At this midway point in the album I find that there is potential in some of these tracks, providing that they develop that sound a bit more, adding a few more synth/keyboard flourishes could add ambience to songs that I’m personally, increasingly becoming uninterested in.
I’m sure that this sound and style is exactly what the band are after but for me I’m finding a lack of depth that could, in my mind, be easily remedied, to great effect. Crossing Over begins with a simple bass and drum pattern and more piano, it’s quite a stripped back track that despite its simplicity holds my interest, the last 40 seconds brings back the guitar which feels right but also wrong at the same time.
The final three tracks follow the same tone as those before it, with the exception of one or two tracks there isn’t much variation on the theme and once again I feel that with the addition of keys, samples, synths and the occasional time change to turn some of those Goth Rock like sounds into something a bit more funereal for effect could lift this album immensely.
It’s an album full of unfulfilled promise for me unfortunately, the most interesting parts were the welcome piano, a touch of GNR, not only within the aforementioned track but also within the font on the album artwork and a little note or two that reminded me of Billy Idol’s Rebel Yell. 5/10
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