BLACK COUNTRY COMMUNION - II (CD)

Before the debut this really felt like the musical dream team: Glenn Hughes on bass and vocals, Joe Bonamassa on guitar and vocals, Derek Sherinian on keyboards and Jason Bonham on drums. So, was it? Well, I sure wasn’t disappointed in the first effort! On the contrary, it’s been spinning frequently. I did like the pure retro sound of it, even though this has been the subject for debate where some thought it sounded like crap. Already in opener The Outsider you can hear the band has listened to the critique and polished the mix a bit. The guitar is a bit clearer and the keyboards are a bit more prominent. To be honest it does glue together a bit better this time around. I’m surprised they got the follow-up out so quickly considering the problems they had getting their schedules synchronized the first time. I’m not complaining, no sir! This is however no hasty word at all. The songs feel very worked through and no details have been left unattended. In songs like I Can See Your Spirit and The Man In The Middle you find the classic Jimmy Page fifth harmonies nicely tucked in the background. There’s a bigger Zeppelin aura hovering over this album than the previous actually, both in the heavier songs and softer stuff like the acoustic The Battle For Hadriana’s Wall where Bonamassa handles the vocals. A nicely built up number which starts off soft and goes into a fat crescendo section with Telecaster feel in the guitar riffs and a quite subtle but efficient slide guitar mixed with mandolin in the end of the song. Bring back the seventies! I think the combination of Glenn’s and Joe’s is a nice touch. It gives the album a broader sound and both have their own qualities to their voices even if they sound quite different. It feels like they’ve put a bit more effort into the arrangements and production also in a song like Save Me, where it sounds big and dynamic with a touch of Kashmir-style strings enhancing and the beautiful Bonamsassa solo with an oriental touch at times. Another difference is that they have slowed down the tempo a bit and included som softer, yet heavy, songs like An Ordinary Man and Cold. They however don’t stay soft all the way through, but the dynamics are there, in the case of the latter it appears in the form of an double tempo solo part. There are also things that go in a totally different direction. If Bonamassa had sung the southernish Smokestack Woman it would have fit perfectly on any Bonamassa record. Also the subsequent Faithless finds itself in his natural musical habitat, not forgetting the slow blues Little Secret which I hadn’t expected here. The tempo is however picked up again in the phat riffing Crossfire and it all ends with the led heavy Crawl which puts a big fat ending to an album that, after a few spins, actually surpasses the debut!

Janne Stark

Year: 2011

Label: Mascot

Country: USA

BLACK STONE CHERRY - Between The Devil And The Deep Blue Sea (CD)

When you say a band has matured it usually means the energy has faded, the unpolished juvenile glimpse in the eye is gone and you now have a bunch of jaded gentlemen that have cut off the thorns on their musical rose so that no radio listener will get stung by mistake. Well, this is not the case, I assure you, but I will use the term anyway about American southern rockers Black Stone Cherry. And - no, I do not see them as polished gentlemen in starched shirts and hats in hand. The first time I saw and heard Black Stone Cherry I was definitely run over by a musical tornado, at times untamed and on the verge of tipping over. This is however what is now under control. Listen to songs like Change, White Trash Millionaire or Blame It On The Boom Boom and you’ll see there’s no cause for alarm. The energy is still there! The band has always had a streak for great melodies and to write songs suitable for airplay. This album has however received a greater amount of such tracks where some could be seen as a bit too much of a radio flirt, but for some reason I love them! I really like Stay, Won’t Let Go, Like I Roll and In My Blood in the same way I like Nickleback’s radio formatted semi-ballads, where Black Stone Cherry however have a bit more hair on the chest. Where I feel the band has matured is in the way they haven’t just plugged in and played their butts off, but adjusted the sound for what each song needed. There’s a greater variation in solo sounds, from the wah wah wailing in Bame It On The Boom Boom, the fuzzy dirty sound and the baritone/octave riff in Killing Floor to the octafuzz in Change. In the latter and in Shake they have also added an extra melodic guitar phrase which I haven’t heard the band do before. They sure haven’t injected less energy in the guitar playing, but they have adjusted the distortion to fit the song. Between The Devil And The Deep Blue Sea has a dynamic I started feel on the previous album, but which is now in full bloom. I have a feeling this will be the band’s big break through! I sure hope so!

Janne Stark

Label: Roadrunner

Year: 2011

Country: USA

ELECTRIC BOYS - And Them Boys Done Swang (CD)

(The album has been previously reviewed for Supernova, but has now been issued by Escape, so here it goes again).

To be honest I’m not really sure what my expectations were for this reunion album from the Swedish funk ‘o metal combo, but they sure as hell were exceede! The boys sure prove they mean business already in rock-out-smash-in-your-face rocker opener Reeferlord. Man, this band ROCKS!! Halfway through the song the add some of the old heavy riff funk vibe to the mix as well. The good old funky vibe continues in second track “My Heart’s Not For Sale”. Man, this is really really good! The great heavy and fat production helps elevate it even further. Of course the Beatlesquey vibe previously heard in songs like “Mary In The Mystery World” makes an entrance here as well. This one has an equally dope induced title “Father Popcorn’s Magic Oysters”. Sure they were oysters? Not mushrooms? The track sure has some hit potential without being wimpy. Another one is “Ten Thousand Times Goodbye”, which is more of a ballad type song with a strong Beatles vibe. It’s however when they rock out my feet get going. One prime example is the Zeppelin meets Aerosmith with a strong funky vibe rocker “The House Is Rockin”. Showcasing drummer Sigevall’s Bonham style drumming. The band is tight and well-oiled, and they do swing! Another outstanding funky rocker with a simple, heavy and crushing riff is “Welcome To The High Times”, a track that you just can’t sit still to! Killer!! “Sometimes U Gotta Go Look For The Car” would be a perfect soundtrack, but here it feels a bit more like a filler. Nice riff, but the car doesn’t really take you anywhere. I just LOVE the cool intro/verse guitar riff in “The Days The Gypsies Came To Town”. The song has a really cool late 60s/early 70s bluesy vibe with some cool bass playing from Crystell. Cool vibe, indeed! “Rollin’ Down The Road” is another prime example of the E Boys delivering strong, fat and effective riffs, adding a great melodic chorus. Sometimes bands put the weakest songs in the end. What about this one? Nope, the boys don’t disappoint. The album ends at really high note with up-tempo rocker “A Mother Of A Love Story”, which has a truly Kiss-inspired half-tempo chorus. One fine rocker indeed! All in all this is a really killer album, proving that the boys don’t get older, some just lose their curls or at least cut them a bit shorter. The power’s not in the hair, that’s for sure! Them boys done swang, yes indeed!

Janne Stark

Label: Escape

Year: 2011

Country: Sweden

Web: www.electricboys.com

OSUKARU - Never Too Late (MCD)

Gothenburg based AOR band Osukaru was formed by former Eye guitarist Oskar “Oz Osukaru” Petersson. The band made their debut with the album GBG2LA (Gothenburg to Los Angeles). Musically it was a pretty good effort indeed. However, the vocals ruined it for me. Now Oz is back with a new mini-album and a new front man. That must be the best move he has made since quitting Eye! New singer Carl “CJ” Johan fits the style perfectly, he’s got a killer voice and takes the band to a new level indeed. At times he reminds me a bit of Leckemo of H.E.A.T, especially in second track City Lights. Osukaru is definitely a new force to be reckoned with when it comes to high class Swedish AOR. H.E.A.T, Dynazty, Danger Avenue, Houston and now Osukaru. What’s happening? A new wave of Swedish AOR? Well, as these bands really deliver I don’t have a problem with that, not at all! This EP starts out quite silky smooth with the title track, adds a bit of ballsy guitars in City Lights and goes to yet another level in Whatever It Takes, even though the chorus is as AOR as you get. This is what Firefest is made of, I tell you! Driven By Love is yet another, quite Journey:esque, melodic rocker that rounds of the section of new songs really nicely. The remaining two tracks are a radio edit of City Lights and a karaoke version of Never Too Late. Man, I can’t even image what this would sound like if someone like Beau Hill, Neal Kernon or Keith Olsen would set their teeth into this! This is definitely the next step for these boys, to get a producer/engineer that really understands what great AOR should sound like and that can help bring out the essence and the ultimate performance of this band. Then, this could be huge! The qualities are there, no doubt!

Janne Stark
Label: Dusty Road
Year: 2011
Country: Sweden
Link: www.osukarutheband.com <http://www.osukarutheband.com/>

MOJOBONE - Crossroad Messages & Tales From The Bone (2CD)

If you were only allowed to buy one CD (and it could be a double pack) I would definitely recommend Mojobone Crossroad Message & Tales From The Bone! This is as phat as it gets! Here you will find the rare 2007 Japan-only release Crossroad Message and the 1999 vinyl only 10” rarity Tales From The Bone. Two records that are essential in the collection of every fan of heavy, low down and dirty riff based seventies influenced groovy hard rock. On top of this you’ll get another eleven tracks, one previously unreleased track and ten demo tracks, some of which were never released. I tell you, this is one hell of a double pack! Founder Per Wiberg was also, up until recently, found in Opeth which may not show here. He is however also part of Spiritual Beggars, which makes more musical sense. Besides Per, Mojobone consists of guitarist Per Mårtensson and drummer Eiron Johansson. On Tales the bass work was handled by Christer Malmesjö, while Crossroads featured Markus Aldén. Mojobone sometimes makes me think of Clutch, but with more variation. I do like Clutch, but Mojobone simply has better songs and a better variety in the song material. Besides being a great keyboard player Per is also a great singer. He has a pretty clean voice for the genre, but I really like that contrast, plus he does let out the occasional roar when it fits. I did have both releases before and I’m of course a big fan of their new album Cowboy Mode. However, as Tales was a vinyl only release, plus some of the tracks we’ve earlier missed out on, such as Burned Out, prove to be in the same high class as the rest of the material – order it immediately. This is one release you don’t want to miss out on!

Janne Stark
Label: Hippodrome Music
Year: 2010
Country: Sweden
Link: www.hippodromemusic.com <http://www.hippodromemusic.com/>

LAVA ENGINE - In Limbo (MCD)

Lava Engine is yet another nice surprise from Sweden. Even though I live in the middle of things new great bands seem to pop up from nowhere. Lava Engine is a prime example. The band may be new but the members are no newcomers. Drummer Mick Nordström has previously beaten the skins with Modest Attraction, XT and Ronnie Jaldemark recorded an album with System Breakdown. So, what does Lava Engine sound like? One band that immediately springs to mind is Pain Of Salvation, especially in the dramatic title track, but I also hear some Opeth and a bit of Porcupine Tree in the mix. Common Ground shows a slightly softer side at times, giving it a touch of Enchant in the verses. The track Ctrl Z is another track that reminds me a bit of Pain Of Salvation during their One Hour By The Concrete Lake era, but I won’t say Lava Engine are any copy cats, far from it. They however touch on the same musical and emotional strings. The music is very epic, very dramatic and the track feels like an entire black and white movie going through so many different parts, phases and motions you can almost envision the dramaturgic screen play happening. I haven’t had this type of feeling listening to an album since I heard Opeth’s Watershed, and even though they are similar in style there are no disturbing similarities. See Lava Engine as a long lost musical cousin of the aforementioned. My only complaint would be that five tracks end way too soon. I really love it when progressive music does so much more than just show off skilful musicians and that the composer knows how to combine lots of different rhythms. Lava Engine makes it all fit together seamlessly. It’s a musical journey, short, but still. Can’t wait for the long trip!
Janne Stark

Year: 2011

Country: Sweden

Label: private (Distr: Liljegren Records)

Link: http://www.lavaengine.net/

ETERNAL FEAR - Embraced In Darkness (CD)

Swedish doom influenced rockers Eternal Fear did really good on their previous release, Evil Deeds, released in 2007. Now the follow-up, Embraced In Darkness is here. The line-up is still the same and style as well. The production on the new album is a bit coarser, but that doesn’t have to be a bad thing. When comparing it to its predecessor it feels a bit more rough and primitive, but after listening a while it sinks in and I really like the live-feel of it and the classic right-left stereo-panned guitars. However the song material, which was strong already on the last album, is a notch stronger. I really like the combination of the heavy riffs and singer Ove’s clear and clean voice. A band I can’t help comparing to, both sound and stylewise, is Trouble during their early days. Especially the title track with the classic harmony guitars, Piece Of Me with its Children Of The Grave style rhythm and heavy rocker Beast Within. The guitars does sound a lot like vintage Trouble as well. I shall however admit, I do like Ove’s vocals better than Eric Wagner’s raspy voice. His vocal style (not so much the vocal tone as the vocal style) reminds me of a young Bobby Liebling (Pentagram), which I definitely like. Great arrangements, great variation of the song material, cool feel and a damn fine album indeed! Definitely well worth investing in and enjoying!

Janne Stark

Country: Sweden

Year: 2011

Label: private

Link: http://www.myspace.com/eternalfearmetal

ADRIAN ENGLISH - Innerplanetarium (CD)

To tell you truth I wasn’t a big fan of US shredder Adrian English’s debut album. It was shred, ok, well over the top, but it felt very stiff and sterile. I’m happy to say with English’s second Shredguy Records release I have been converted and convinced. This album shows a totally different musical delivery. This time with a great bass player and drummer in Ryan Morrow and Chas Chantrell. This time it also feels it’s more about the songs than just the over-the-top shredding. There’s a nice diversity in the song material with some really cool grooves and riffing going on. English has also put some more time and effort into playing for the song. One of the cooler tracks is 10 Ways where there’s a lot happening in the background riffing. Adrian does shred, and he shreds a lot, but he never really overdoes it this time. He does cool down a bit and throw in cool melodies, which I really like. There are songs that really really hit home with me such as the cool Paranormally and the ballady Velvet Rain where Adrian at least tries to restrain himself (and does pretty well, adding some nice harmony work to the mix). Harmony Creek is another slow ballad where the melodies rule for the most part. He really shows he does have a nice sensitive side to his playing. Nice tone, great playing and an overall really great song. Album closer Closure shows another side as well, where Adrian brings out the acoustic and shows he does his thing also in this context. All in all a really great album, which shows a guitarist that has taken a huge leap since the first album. Well done, indeed!! Janne Stark

Label: Shredguy Records

Year: 2011

Country: USA

Link: www.myspace.com/shredguyrecords

BRIAN ROBERTSON - Diamonds And Dirt (CD)

Some things you don’t believe until you see them. Former Thin Lizzy guitarist Brian Robertson, or “Robbo”, have had a rumour about himself working on a solo album for the last ten years, but nothing has really come out of it. So, it seems hell has finally frozen over and pigs started to fly (or if it was vice versa…). It’s finally here! I guess all kudos should go to Sören Lindberg, the manager that finally made it happen. In all honesty, Robbo did put out some type of solo release in 1995 under the moniker The Clan. There was however a bit more to be desired concerning this one however. So, to my great joy I find he has revived, re-recorded and revitalised some of the songs off this rare release. The revitalisation is foremost courtesy of a way better mix and of course the new people surrounding Brian, singer Leif Sundin (Great King Rat, John Norum, MSG etc), bass player Nalle Påhlsson (Treat, Therion etc), drummer Ian Haugland (Europe) and guest singer Liny Wood (aka Linnea Helge), his new clan. The same treatment has also been given to Thin Lizzy’s old Running Back from Jailbreak, which actually has been recorded in two different versions on the album. His new rendition of It’s Only Money ain’t half bad either (one of my favourite Lizzy tunes). Robbo was actually supposed to guest on John Norum’s cover of that song, which, coincidently is also sung by Sundin, where I’m afraid Norum’s version wins by the tip of a nose. Where this album however really shines is in Robbo’s own songs, such as the album title opener, the driving Texas Wind and the cool Devil In My Soul, with it’s really nice guitar arrangements. It features both acoustic and electrice slide guitar, smooth country style licks mixed with really heavy riffing. Robbo used to collaborate with Irish rocker Frankie Miller and he has here paid homage to him by interpreting three of his songs, one of them being the groovy Do It Until We Drop (Drop It!!). Another one is closing track Ain’t Got No Money, sung by one of my all-time favourite singers Rob Lamothe. Among the new recordings of the tracks from The Clan period you’ll find the Robertson/Lynott composition Blues Boy and the almost folkish bluesy That’s All…. One track that definitely sticks out is the cover of Jim White’s 10 Miles To Go On A 9 Mile Road, where Robbo himself handles the vocal bits, which brought Lou Reed in his most narrative mode to mind. A very different, but pretty cool track. Robbo has previously done some guest spots on albums by bands like Lotus, Five Fifteen etc, but in all honesty I haven’t heard Robbo play this good since the Lizzy days. Balnced, cool bluesy, contained, great tone and great feel. It feels like, yes, I can say it without exaggerating – Robbo is back! He’s definitely found his right musical context and the perfect band to work with. A high quality, easy listening cool record that is hard to pop out of the CD player. Mostly diamonds, but also some well placed dirt. Janne Stark

Label: SPV

Year: 2011

Country: UK/Sweden

THE BLINDED - EP2010

The Blinded, formerly known as Blinded Colony with two albums under the belt, have finally sorted out their vocalist problems. Instead of one replacement there’s now two. One clean and one dirty. Just like fellows Scar Symmetry, Soilwork etc they now feature both clean and growling vocals. I personally like this concept. I can without a problem accept the growling when it sounds good and they actually add a bit of clean melodic vocals as compensation. I think The Blinded succeeds very well in their combination. The fact is, I actually did like Blinded Colony even when they only were growling, but now even more! When listening through the six songs of this (so far?) digital EP I feel the band has evolved and matured both as song writers and productionwise. Great riffs, strong song material and a really fat and heavy production makes this a highly enjoyable musical experience, although it’s a bit too short. I’m looking forward to a full album experience! This is great stuff which should appeal to fans of In Flames, Soilwork, Scar Symmetry etc. Janne Stark

Year: 2010

Label: none

Country: Sweden

Link: http://www.blindedcolony.com/

THE CITADEL - A Passage Through Eternity (MCD 5tr)

Semi-proggish Swedish band The Citadel now follow up their debut The Brothers Of Grief with a five track MCD. The debut was a pleasant treat, but this little follow-up actually fits my musical taste buds even better. Opener A Voice Beyond gives me pretty strong Evergrey vibrations, but with a more uplifting melodic chorus than what the Gothenburg quintet offers. A really nice one, dark and heavy but with a slight streak of hope in the chorus. The mix is really fat and heavy adding the right elements to the overall audio experience. Next up is Demon’s Eye (nope, not a Deep Purple cover), which actually sounds even more like Evergrey, with singer Jonas Radehorn taking on a very suitable Tom Englund touch in phrasing and vocal tone. A killer track indeed! In Heaven you however hear more of Radehorn’s own voicing. This song also showcases a slightly more symphonic but yet melodic side, but still maintaining a heavy staccato base. Nice chorus that really sticks. When The Storm Begins is another killer, crushingly heavy thing with an oriental touch in some of the vocal phrases. Also hear you’ll find a more symphonic touch shining through in the chorus. I really dig the long lost classic “fire”-falsetto, which I had expected from bands like Enforcer or Steelwing. The MCS closes with the track 7, which follows nicely in the same tradition as the previous tracks, also here with a pretty dark and melancholic aura hovering over the audio delivery. I guess that is one of the things that makes me think of Evergrey. Five tracks is quite a good move, considering the heaviness and musical richness, yet it leaves me wanting more. A really great and interesting release.

Janne Stark

Label: GMR

Country: Sweden

Year: 2011