Album Reviews

[binnie]

The Pretty Reckless – Going To Hell (2014)

I have no idea what ‘Gossip Girl’ is, so the fact that The Pretty Reckless frontwoman Taylor Momson was in it means exactly fuck all to me. That being said, when you read ‘TV starlet’ goes rock’ you can’t help but have preconceptions. You expect it to be fake. You expect it to be hype. You expect it to be Paramore. You expect it to be anything but what this maelstrom of ass kicking record is. You read it here first: The Pretty Reckless rock as hard as any band out there.
Nothing is over-produced, dressed up or recorded by record company committee. And the band draw their sound from a far wider range of sources than the usual run-of-the-mill ‘Classic Rock’ acts. You’ll hear stoner, garage and indie amidst the hard rocking thunder, but it’s all unified by Momsen’s raucous vocals and on-stage femme fatal persona. ‘Follow Me Down’ is a sleazy tale of female predatory sex which features a rolling riff and is awash with scorching attitude; ‘Going To Hell’ is a scuzzy barnstormer which sits at the cusp between rock and metal; and ‘Heaven Knows’ (the lead single) is a stomping slice of teen rebellion on-par with a peak Joan Jett. Sure, there are some mediocre moments (see the grungy ballad ‘House On A Hill’ or the faux Dylan of ‘Waiting For My Friend’), but the overall effect if a kick to the gut.

Lyrically, it’s all the clichés you’d expect from such tales of bad-assery. Momson plays the fallen woman well, and her vocals are often incredible (see ‘Burn’) – but when she truly opens up and does something organic, as she does on the PJ Harvey/Audioslave hybrid of ‘Blame Me’, she hints at the bucketloads of talent which this band contains.

This record is crack for the ears.

(Disclaimer: my comments on this album were influenced in no way by the fact that Ms. Momsen appears nekkid on the cover; or that it opens with the sound of an orgasm. I’d never be so easily led……)

[Coyote]

Sure, Mr. "Roth Army Hit-man"...

[Jack68]

From Going back home with Wilko Johnson. Just had a chance to listen to the record and it is very good. I think it was recorded in a week or so. Now if Townshend could go into the studio with the touring band and do this id be happy.

[78/84 guy]

Yeah, and you're still buying Bon Jovi instead!

You've missed a lot of good stuff!

No. Black Stone Cherry. Still heavy but with a better singer.

[Von Halen]

I like Black Stone Cherry.

[binnie]

Twilight of the Gods – Twilight of the Gods (2013)

This. Is. Heavy. Metal. And it’s fucking glorious. A supergroup of sorts, Twilight of the Gods features Alan Averill (Primordial), Nick Barker (ex Cradle Of Filth/ Dimmu Borgia), Rune Eriksen (Aura Noir) and Frode Glesner (Einherjer), and started life as a Bathory tribute band. That legacy is here throughout – those landscapes of riffs and steel which Bathory do so well define this record – as are the crushing energy of early Manowar, Maiden and the majestic power of Candlemass in what amounts to a celebration of all that makes Metal good. Opener ‘Destiny Forged In Blood’ is a swirl of powerchords and gallops, with Averill’s Dio/Dickinson vocal berating us all to ‘write your name in blood’ for metal – if it sounds corny, you’ll never get the joy of this record. In truth, this emotive stuff – raw without being cheesy, it goes straight to the heart of what makes our genre bubble and tick. The gothic horror of ‘Children Of Cain’ contrasts militia rhythms and razor riffs with ethereal lyrics drawn from folklore; whilst the sheer stomp of ‘Fire On The Mountain’ will nourish your inner teenage Viking and practically command you to headbang – it’s easily the most metal thing I’ve heard this year, until I head ‘Sword Of Damocles’, which conjures visions of ten thousands devil horns in the air.

What makes it so infectious? The dynamics: effortless cool component parts are held together in perfect balance, meaning that this album never slips into the sin of becoming melodramatic nostalgia produced by so many spotty pretenders. A beautiful, inspiring slab of Heavy Metal.

[binnie]

I like Black Stone Cherry.

I quite like Blackstone Cherry, too:

________________________________________

Blackstone Cherry – Magic Mountain (2014)

Blackstone Cherry’s third album – ‘Between The Devil & The Deep Blue Sea’ (2011) – was as terrible as its title suggests: an overtly corporate slice of rock engineered to garner radio play and appear to a mass, Nickleback loving audience. It is a warm surprise, then, to discover that album number four sees the band return to the thunderous rock and molasses grooves of their earlier work. Put simply, this is Southern Rock for the 21st Century, a record which is steeped in Skynrd, Molly Hatchet (who may be the band’s nearest sonic cousins), the Allman Brothers, and dashed with more than a hint of Bad Co. and Mahogany Rush. Raw, deceptively heavy, and very riff focussed, BSC know that this type of music works best when you don’t overcomplicate things – it’s all about the hooks, stoopid!

And there are hooks here a-plenty. Opener ‘Holding On…to Letting Go’ is the sort of groove-laden anthem they’ve made their name on; ‘Me & Mary Jane’ is pure thunder, and is bound to become a live favourite; the title track makes you shake your money-maker; and the likes of ‘Never Surrender’ and ‘Blow My Mind’ kick like a woman jilted at the altar. It’s a bombastic wave of rock. Sure, the ballads are still over-cooked and waaaay too sentimental (see the sinner-needs-saving story of ‘Runaway’), but that’s what the skip button was invented for. And there may be a little filler here, too (see ‘Dance Girl’). But overall, them good ‘ol boys are back, and they’re ready to rock 1975 into 2014.

But there is always a sticking point with BSC. They’re just too……nice to be a rock band. It’s not just their overtly Christian stance, it’s more than that. You just know that they probably say their ‘please’ and ‘thank-yous’, cuddle after sex, and enjoy long walks in the great outdoors. One band member even refers to his fiancé as his ‘snuggle bunny’ in the liner notes – Jimmy Page didn’t do that. Not everyone can be a badass, but it helps if your rockstars are. And as a result BSC, as good as their songs are, will only ever progress so far.

[78/84 guy]

I agree. The last album had some weak spots. More lyric's than music. This new album rocks. It really grew on me in the last week. I love their debut album. On of my favorite albums. They kind of replaced Badlands for me.

[binnie]

I'd say their debut is the one I enjoy the most, largely because it's the rawest. The last one was just too.....clean: the polished production and pop-heavy dynamics robbed them of their power.

There are better rock bands in the world right now (The Rival Sons, for instance), but BSC are always a lot of fun.

[Seshmeister]

I'm not a hater...

It's just that when I hear BLS it sounds like Ozzy should be handling the vocals

And at this point that's not a great sign.

I was thinking the same thing during the new Jake E Lee album last night although it's better than BLS...

[binnie]

And at this point that's not a great sign.

I was thinking the same thing during the new Jake E Lee album last night although it's better than BLS...

It's really not better than BLS (did you see my review of Jake the previous page?)

Man, Jake hired the wrong singer. I think the tune with Sass Jordan on vocals is genuinely brilliant, but the rest is mediocre.

Zakk Wylde may have released too many BLS albums - which can be patchy - but when it clicks it clicks. His vocals have developed with age, and he can certainly put a song across now......

[Seshmeister]

Maybe I should give BLS another chance but the 10 songs or so I've heard have done nothing for me.

I find ZW uninteresting as a guitarist and less as a writer and vocalist.

The Jake E Lee album is frustrating, he needs a collaborator. There are some really good bits, I was listening to Feeder and it could be great but it doesn't go anywhere.

[binnie]

Maybe I should give BLS another chance but the 10 songs or so I've heard have done nothing for me.

I find ZW uninteresting as a guitarist and less as a writer and vocalist.

The Jake E Lee album is frustrating, he needs a collaborator. There are some really good bits, I was listening to Feeder and it could be great but it doesn't go anywhere.

I think your problem with BLS may be that you don't really care for the heavier end of metal, which is where Wylde was heading with the project. I'd be the first to say that it all lacks subtelty (most metal does), and that he's put some dross out under that name. But I think there are at least 4 very, very good albums. But they may not be for you.

As for Red Dragon Cartel, 'frustrating' is being polite. I was really disappointed. Albums with multiple vocalists are always a mish-mash and rarely gell, but this one really suffered because there's no unifying style. He should have hired Sass Jordan for the whole thing, in my opinion. But to me - as I said in the review - the really odd thing is the ABSENCE of Jake's guitar. Normally guitar-player goes solo = wank-fest; this was too far the other way......

I'll be seeing 'em at Donnington next month. Not sure how they'll fare on the mainstage, or how many people under 40 will know that Jake played with Ozzy, will have heard of Badlands, or know anything other than 'Bark At the Moon', but I'm hopeful I'll enjoy it. 'High Wire' is one of many favourite songs/riffs - not the same without Ray Gillan, but you can't ask for the impossible....

[Von Halen]

Sesh, I think you are allowing your opinion of ZW's guitar playing, to cloud your judgement. Or maybe I am, because I love his guitar playing.

BLS is one of my favorite bands. I might not be 100% in love with the entire body of work, but I sure do love a lot of it.

I think "Book Of Shadows" is fucking brilliant.

I love the early stuff. I love "Mafia". I have been listening to the new one a lot, and it is very very good. Much better than the ones between "Mafia" and this one.

[binnie]

Much better than the ones between "Mafia" and this one.

Yup.