Bloodbound – War Of Dragons (2017) – The second album since Bloodbound’s questionable metamorphosis from that of a traditional anthemic heavy metal act to that of full-on symphonic power metal, I also find myself not exactly impressed with this release. The band’s previous effort Stormborn (2014) did not impress me either, with this eighth release being only a little bit better. You see, I used to really love this band back in it’s earlier days, and found ’12s In The Name Of Metal to be a real blast. But the bombastic soundscapes and orchestral affairs of this and the previous release seem to put them a little closer to one of AFM’s largest acts, the almighty symphonic power metal powerhouse by the name of Rhapsody Of Fire. Now to be fair, Bloodbound aren’t truly playing the same game as Rhapsody Of Fire, but there’s still a bold similarity that fans won’t be able to shake-off. If you liked the band’s old style better, this will not be a record that you’ll be fond of; but if you prefer a more-lighthearted and chipper approach to your music, then you’ll love this. It’s all just too flamboyant for me – but it’ll definitely help them gain ground with symphonic power metal enthusiasts, as it does manage to do this genre justice. So despite it not being quite to my palette, I’m going to judge the record based on it’s artistic merit.
The album itself isn’t all that long, coming in at a brisk forty-five minutes. That’s a pretty fair length for an LP and I can’t really consider it too long or short, even though the track lengths barely encroach four or five minutes. However, that might be a good thing as this more simplified approach makes for a more digestible and less overbearing performance. After a slight intro, a rather triumphant moment takes the stage in “Battle In The Sky” which of course is not unlike that of Blind Guardian, Helloween, or Rhapsody Of Fire. It comes packed with a rather potent chorus and a decidedly epic bridge. “Tears Of A Dragonheart” seems to feature a little of the band’s chug-heavy past, yet still sprinkles with theatrics and keyboards. A solo effort is also made, which I find quite pleasing. The title track thunders in much the same way, with a chorus that sounds rather close to one I’ve heard from Avantastia, or perhaps it was a another act. It’s nothing all that major and quite common in theatrical power metal acts like this one, so I’ll ignore it. There was a nice bit of instrumentation midway through the song, but nothing incredible. “Silver Wings” boasts a bit of folk music influence, as well as a more straight-forward and less bombastic approach that I feel comes as a good sign. It’s good to see these guys dialing down the keys just a bit, so that the folk influences can really shine. As with the past couple of songs, this one also features a bit of a solo. “Stand and Fight” is another cut that brings us a little closer to the band’s work of the past, showing us that Bloodbound haven’t completely forgotten their roots in classic heavy metal. A few nodes of flute are utilized ala Sabaton, which doesn’t surprise me as the band was able to become a major household name in power metal with no one really becoming any the wiser.
On the next half of the disc, “Kingdom Of Swords” starts unexpectedly fierce, nearly reminding me of Symphony X during their mid-era. A Helloween/early-Avantasia style chorus decorates the piece as a slight bit of neoclassicism enters the solo. By now you can almost be assured that there’s a solo on every single track here, but that isn’t a real problem as very few of them ever feel like filler. “Fallen Heroes” fills with triumphant thump, almost like a more glittery Manowar. When we enter into verse, I feel that I’m getting a hugely classic vibe from the backing bass and that makes me smile. If you removed the keyboards from this one, you would have the barebones of a classic heavy metal anthem, which is what they’re trying to achieve with this one. It works too. Though a bit pomp, this one’s quite a hit. It’s good stuff and you can raise your fist to it. If ever a classic Helloween influence was to be made from this disc, it is definitely “Guardians At Heaven’s Gate.” This song not only embodies the classic speed metal of some of their earlier and most noted albums, it also features a high-flying chorus with equal axework. This is an example of a power metal band showing that they can play classic power/speed metal just as well as any of the other styles that they’ve fooled with here. By the time “Symphony Satana” has come in, I’m not really feeling anything and it seems that they might be overstaying their welcome in this territory already. Although a classy solo appears as well as a grandiose bridge, I’m not left with much here. “Starfall” fortunately comes in to pump up the tempo and get my head banging just a bit. That’s a good feeling, as it seems to carry that heavy metal thunder that I love about this genre. At first the chorus doesn’t seem to be that great until about the second half, when the notes really pick up and you realize how quickly it can seep into your head. (Oh, damn – Now I’m going to have this one stuck in my head tomorrow.) As I noted, this is a slightly heavier and much crunchier cut than most of the material here. But that’s just fine with me. The last track on the album is “Dragons Are Forever” which is another sparkling cut, with an equally sparkling chorus. A great way to end the record, even though it is curiously the exact same length as the previous number, “Starfall.” I’m not quite sure why, but both are standout cuts in my opinion.
So in the end, even though it’s still a bit flowery, War Of Dragons is definitely not a bad release. It’s quite solid and worth a spin, especially for fans of virtually all the acts I’ve named in this review. Though not quite as dark as some of the band’s earlier material has been, it’s a definite step up from the nearly forgettable pomp of the previous and sees the band decorating traditional forms of heavy metal with an array of keyboard sprinklings, flute pieces and of course, dragons. My version of the record came with a bonus “Songs From The Vault” in which several various demo versions of classic and new Bloodbound tracks were performed. This disc comes in at nearly a full hour of music, which is definitely worth checking out if you’re a fan. Though be warned, as the demo versions do sound a little bit under-produced and decidedly different from the studio cuts. But that’s expectable as they are demos. The bonus disc will also give you an idea of the band’s early sound, which is worth digging into if this is your first Bloodbound experience.
(12 Tracks, 45:00)
7/10
Loathfinder – The Great Tired Ones (2017) – The debut album from Polish black/doomers Loathfinder is quite, well… it’s quite dark. A torrential downpour of thunderous doom covers your ear drums in murky ocean waters, bleak as the album’s cover itself (which is wholly fitting) and no less uninviting. A co-worker said that she felt metal music was a bit scary for her even though she was a major of fan of horror and slasher films. Well, this is the kind of album that embodies the very element of that fear – it’s grueling, particularly in the vocal element which is guided by some unexpected melodic nodes that almost ride on a tinge or two of rock. Right near the end of “Genetic Gloom” we do experience some sight shredding, which can make the band seem a bit active and perhaps less gloomy than you might expect. Even though that is most certainly not the case here. Loathfinder could implement a wild solo frenzy and still manage to capture the same thick tones of dread throughout. “Feast On My Entrails” brings on a much different vocal approach, which appears to come from an angry butcher with blood stained all over his apron, as well as some bits of fluid and perhaps a few pieces of organ matter that may have found themselves stuck to it. You know what I’m talking about here – dead, sticky human flesh. There’s even a section where galloping leads bring on a sick sense of triumph, where I begin to smile with sadistic glee. The track itself stretches almost into seven full minutes, so there is more than enough time for the band to properly experiment with different ideas within the same piece, but not sire out the listener. This is definitely due to the frontman’s wonderous display of emotion, which I hope won’t whittle down with time. This horror-influenced number feels truly bloodcurdling, which is a word I haven’t used in a long time. Even though the band are described as blackened/doom, I definitely feel the tinges of death metal as I thought I would. But I won’t complain a single bit about the hefty growls used on this piece, as they only help to bring the fear that makes this music so damn uncomfortable for some people to listen to. I would have it no other way.
“Scents Of Regression” actually does manage to pull out a solo or two amongst the obsidian muck, which here sounds even a bit sludgy (and again, no complaints) and still manages to retain the gloomy atmosphere that brought me to such a band in the first place. Maybe there’s even a little bit of classic Opeth in the riffs just behind the solo and to the left of the downtuned bits. Clearly these guys have put a great deal of work into this one. It’s just an EP, but feels like a full album in itself. The disc actually ends with the title track, which estimates to a full ten minutes of playtime. It does drone for a bit before picking up ferocity, but I feel that such a track needs that level of contemplation before the big “blast” as it builds a story behind the concept. We’ve heard “The Great Old Ones” several times of course, but what kind of Lovecraftian butchery went into “The Great Tired Ones?” Who are they? Upon reading the lyrics, I began to sense that these beings were beyond imagination and truly horrific. The song itself describes that quite well, as there is even a section in which we hear what I could only describe as the utterings of several monstrous beings that may have found their way into Poland by use of a mysterious portal. The piece then become monstrously heavy, making it’s presence known while at the same time delivering a very catchy solo number. I don’t think I could have made a more terrifying album if I tried. Loathfinder is definitely an act worth watching and hopefully their talent and use of imagery will go far beyond the simple borders of their homeland. We could really be looking at something here and I won’t mince words with that.
You’re still only getting thirty minutes of music with The Great Tired Ones, but those minutes are going to feel much longer and quite a bit more vibrant than many fly by night EP’s that you might hear on a regular basis. The band literally put a full-length’s worth of effort into this sampling of their skill, and they only charged a mere euro for the disc on Bandcamp. If you want a disc it will cost a little more – but you just might, because this little sampling of music will end up sticking with you long after the last note has been played, kind of like an inky black tentacle that slithers up your spine, right up to the point where it closes itself around your neck and pulls until there’s nothing left. The old ones might be tired and ready for a nap inside of an outer nebula somewhere out in the cosmos, but here on Earth I can tell you that Loathfinder have only just begun!
(4 Tracks, 27:00)
8/10
Wolfpakk – Wolves Reign (2017) – The fourth output from this highly prolific German supergroup/experimental project, Wolves Reign is proof positive that masterminds Mark Sweeney (ex-Crystal Ball) and Michael Voss (Mad Max, Michael Schenker) haven’t yet run out of steam. Recruiting the talents of Biff Byford (Saxon), Ronnie Atkins (Pretty Maids), Oliver Hartmann (Avantasia), Steve Grimmet (Grim Reaper), Brad Gillis (Night Ranger), George Lynch (ex-Dokken), Chris Holmes (ex-Wasp), Rudi Sarzo (Ozzy Osbourne), Marc Lynn (Gotthard), Volker Krawczak (Axel Rudi Pell), Alex Holzwarth (Avantasia) and more, you can bet your bottom dollar that this one is going to be a must for fans of classic heavy metal glory – and it is. With so many different heavy metal lineups here, you can definitely expect a great deal of variety on this disc as with the others, albeit this album seems to be focused more towards the classic sound and seems to drive away from the more power metal influenced styles and musicians that were prevalent on some of the earlier albums. Wolves Reign feels like time traveling back to the eighties, and that’s just fine with me.
Breaking it down in a track by track format, we begin with the speedy “Falling” which features Timo Somers (Delain, Vengeance) on guitar and Claus Lessermann (ex-Cacumen, Phantom 5) on vocals, with Rudy Sarzo on bass. Lessermann’s vocals truly shine here, especially when the chorus entwines with the backing nodes provided by the synths and Jean-Marc Viller (Daydreamer, Neverland). The majority of solos on this record are absolutely remarkable, with this opening piece being no different. I will admit that it’s an odd place to open the record, but it definitely pumps in enough high-powered octane to get my attention. The composition focuses mainly on strong leads, there are no hefty downtuned guitars or technical theatrics to be found. “Run All Night” is a bit chunkier, with Michael Vescera (ex-Loudness, ex-Dr. Sin, Obsession, Killing Machine) on vocals, Somers on guitar and Marc Lynn handling bass duties this time. Drums are being handled by Wolfpakk’s drummer Gereon Homann for the first seven cuts, so I don’t feel it necessary to mention him in every description. In any case, Vescera’s voice lights up the sky as what I could only consider to be another boost of nitrous oxide is utilized in the tempo. The synths also give the piece some depth, if Vescera’s performance wasn’t good enough already. “Blood Brothers” came next and struck me as a bit odd. Odder still, as it features the legendary Saxon frontman Biff Byford on vocals. Added to that, we have Brad Gillis on guitar. The chorus pounds in pretty well, accented by a smattering of great leads right at the end, but the “hey ya, hey ya, hey ya!” (imitating a Native American chant) seemed a bit out of place and overkill. I think I would loved the song more if they had picked another line for backing vocalist Jean-Marc Viller to tackle. The solo section is also quite memorable, fronting what I’d consider a very triumphant piece – it just doesn’t feature as much as I’d like from Byford, but I’m sure a new Saxon is due is anytime now. The next cut here is the ballad and title track, which features Tony Harnell (TNT, Skid Row, Starbreaker, Sonic Adventure) on vocals along with George Lynch (ex-Dokken, Lynch Mob) on guitar and Volker Krawczak on bass. Harnell’s performance is pretty remarkable, making for a great sing-along ballad. The toned-down nature of this piece makes the solo section feel nearly romantic – you don’t often hear that these days. Romance and metal has become sort of a very gothic thing, and it feels like newer artists may have forgotten some of the memorable ballads of the eighties.
On the second half of the album we have a slightly different feel in “No Remorse” which actually feels a bit Japanese power metal inspired. It’s a departure from the first few cuts on the album, but this might be a good thing as people can get worn out on the same style when displayed for too long, and to it’s credit – the song is actually quite solid. Oliver Hartmann fronts the piece along with Alen Brentini (Alen Brentini) on guitars, helping to create a piece that feels right at home in the land of the Berserk mythos. Particularly during The Golden Age arc. I actually feel that Japanese ears will enjoy this one a great deal, especially. “Inside The Animal Mind” is a complete departure from that, featuring Jioti Parcharidis (Victory, Human Fortress) on vocals. It feels very Motley Crue in nature, but I am quite turned off by Parcharidis’s vocal approach here. Maybe it’s just the song, but I’m just not digging his lines and it feels a bit undercooked for me. I suppose if I listened to it a few more times, it might eventually begin to sink in. Following that we have “Scream Of The Hawk” which features Steve Grimmet (Grim Reaper) on vocals along with Michael Müller (Jaded Heart) on bass. It also follows a more modernized power metal formula, with a worthy chorus that I think will also sink in after a few plays. If you can’t tell already, I had a bit of a problem with the mid-section of this album which didn’t really pick up until “Mother Earth” the ninth track. “The Ten Commandments” came next with Pasi Rantanen (ex-Thunderstone) on vocals and Alex Holzwarth on drums. I wasn’t entirely crazy with the lyrical matter as the ten commandments have never really been my thing, but aside from that, I had a very tough time getting around Rantanen’s vocals. It’s not that he can’t sing, but that he can’t sing as good as some of the other frontmen here. At least not anymore, apparently. The only real thing that I liked about this one was the middle-eastern influences in the solo section. A surprisingly lengthy and unexpected track bursts in next, as “Mother Earth” is surprisingly not the subtle ballad that you may have assumed it to be. A passionate vocal performance from Ronnie Atkins consumes the chorus, with Jen Majura (Evanescence – yes, Evanescence – Amy Lee wouldn’t know a good guitar solo if it hit her in the head) on guitar duties, actually getting a chance to show that he can do more than write simplistic synth-rock for the radio. Additionally, Simone Christinat throws some backing vocals on this piece as well as the following cut “Tomorrowland” (which is a bit shorter). With such a long piece, the band are able to really dig in and experiment with all sorts of progressive atmospheres that make for a rather spirited mid-section. The chorus is definitely pasted everywhere, but the fact that Wolfpakk as a whole decided to give this track a little more than just a verse/chorus setup is something worth applauding.
“Tomorrowland” actually feels like a Beatles ballad at first, with subtle piano creating the background for Danny Vaughn’s (ex-Waysted, ex-Tyketto, Vaughn) heartfelt vocal performance. As the guitar warms up, it definitely feels like a classic eighties’ serenade, but on a much different level. The lyrics here relate to the future of mankind and not so much a romantic relationship. It’s a bit of a sad rock track, I’d say – the tone of the piece is a bit glum, but it still works. I am quite reminded of Hearin’ Aid’s “We’re Stars” to be honest. The last piece on the disc here is “I’m Onto You” which features Andy Lickford (Killer) on vocals along with Chris Holmes on guitar. It’s a way for the band to end the disc on a rockin’ note, but seems out of place right at the end of the disc. That being said, I don’t think that they wanted to end it with the previous. That being said, this one does feel like a bit of a bonus cut that was just sort of lobbed on at the end. It never feels like much, and again – that sort of backs up my “B-Side” statement.
When it’s all said and done, I’ve noticed that the album had an incredibly strong opening with several memorable cuts coming in nearly one after the other. Despite the odd choice for Biff Byford, the record seems to come off without a hitch – until it hits the middle ground, that is. Much of the material is slightly different than what we’d expect and could translate into several hits and misses for listeners. That isn’t to say that these pieces aren’t worth listening to – they most certainly are – but I didn’t catch anything all that remarkable. “Mother Earth” really started to pick things up again until they went for a Hearin’ Aid impression and threw in what sounded like a cast-off directly after that. Perhaps Wolves Reign isn’t their greatest, but it is a pretty stable recording and I think there’s enough here to warrant a listen. Especially if you really like guitar solos.
(11 Tracks, 56:00)
7/10
Kalopsia – Angelplague (2017) – New Jersey death metallers Kalopsia have returned with their third album, after having released a short EP (Sanguine Epitaph) back in 2014. According to one reviewer on Metal Archives, the band are fairly decent and have been awarded a 70% for both of their later albums. (The band’s 2003 debut Exquisite Beauty Of The Defiled remains uncovered. Maybe time for a reissue?) While I can’t say what the elite listeners over there at Metal Archives will have to say about this one, I can certainly say that I was enthralled by it. I believe I’ve been listening to this genre long enough to know what good death metal sounds like, and this certainly seems to be just that. Kalospia aren’t overly technical, proggy or invite clean vocals, but they do incorporate more than a few touches of melody within these pieces to make them stand out. It’s actually a bit similar to the last Suffocation record, which did quite well. The disc itself is more or less an EP-length performance, but it is one that I felt stuck with me. I wouldn’t ask for it to be any longer or shorter and it definitely worked as a fine accompaniment while I was getting ready for work.
The record begins with a gore-soaked groove monster called “Destined To Return” in which the band prove that they were definitely ready to come back and slaughter. The lyrics on this one are quite well thought out as well, bringing a sort of Lovecraftian/demonic vibe to the mix. I’ve always hated the fact that for some tracks in this genre, you more or less have to read the lyrics separately, as they can be tough to understand within the monstrosity of it all. Kind of kills the meaning behind the songs, I think – but even so, the performance in general is more than enough to keep your attention here. Loud, ruly and unhinged along with some breakdowns that actually feel necessary within the rampage. Matt Medeiros comes off like a jackhammer while Justin Spaeth proves that humans are still needed behind drumkits. He brings the right amount of oomph to a performance that stands with one foot in the graveyard slabs of yesteryear, while the other stands in more modern approaches. I did hear some technicality and even a few riffs that brought to mind groove acts like Lamb Of God. Not so much in the “Lamb Of God” stole from these bands, but in the sense that Kalopsia may have been influenced a bit by Lamb Of God. Doesn’t really matter all that much in the long run, because both bands are pretty solid in my book. When we get to the slow-kill of “As The Serpent Devours” we are quickly reminded of the potency of that true death metal sound. You just don’t get it much with core and there’s no denying a slow-kill. Even with some slight core influences as appear in “Christened Upon The Slab” the performance still comes off incendiary due to all of the pure death metal that exists within this formula. A slight melodic lead attempts to come into the piece about three times, but Steve Hovarth doesn’t really get to chance to show off his melodic leads until near the very end. “Not Peace But Pestilence” approaches like a ravenous beast, ripping my face off in the process as it slowly switches gears from a slasher to that of a bass heavy pounder, where Mike Hussey shows his stuff. When Kalopsia wants to crunch, they Captain Crunch. When they want to groove, they turn the place into a blood splattered Saturday Night Fever-flavored dance floor. When they want to turn up the gears and create a sound that feels like your head has been attached to a diesel engine, the sound that they create becomes equivalent to Maximum Overdrive (Hey, I actually liked the film adaptation!)
“Scorched Earth and Blackened Skies” nearly comes off like brutalized melodic death metal, which is also why it is one of my favorite songs on the disc. Most BDM acts just don’t fuck with melodies, and if they do it is never like this. But some of us do appreciate melody, especially when it melds in well with the vocals. A good chorus works well with the not-so-subtle attack that the band implement, and nearly seven minutes of playing time allows both sides of this spectrum enough space to be displayed properly. “Source Of Evil” feels very Cannibal Corpse which of course is expected, definitely hitting the groove-laden efforts of the band’s Corpsegrinder fronted groove-death era. I love late nineties Corpse, but I know that doesn’t bode true for everyone. This cut gives me a taste of that era again, so I’m happy with it. There’s also a solo featured, but it’s not all that memorable unfortunately. Even so, I’ll give them points for the attempt. “Surge Of Terror” felt quite similar to the last one, albeit the fact that it does have a good sort of solo-type thing near the very end. It’s also unfortunate that the track was cut off right towards the end of that piece, but there isn’t much I can do about that and I’ll accept it for what it is. The final piece is “Bitter Sacraments” which more or less gives us one final beating before the disc ends.
If you’re looking for a solid death metal with some neat ideas thrown in here and there, you might find something in Angelplague. I’ll admit that it was more than enough for me as far as just being a great overall death metal experience, but it isn’t the best death metal disc that has ever been created by mankind. Nor was I expecting a performance like that. Kalopsia have given us very much a WYSIWYG kind of performance here and I do not think that death metal fanatics will be bored of it rather easily. It does have some notable modernisms that might be a turn-off for some, but you can’t please everyone. I definitely think it is a strong performance that hopefully merits something a bit higher than a seventy this time around over at Metal Archives. Maybe a seventy-five or an eighty if we’re lucky. That would be my score for the disc, as it’s certainly far from a merely “decent” performance. Give it a listen and tell me what you think. Or don’t tell me, because no one ever does.
(8 Tracks, 35:00)
8/10
Corroded – Defcon Zero (2017) – Their first album in five years, Sweden’s Corroded have crafted a disc that will be right up your alley if you’re fan of acts like Volbeat, Mustach and other hard rock/heavy metal combinations. It also feels a little like early Black Label Society, Soil, Down or Damageplan in some regards. We’re definitely dealing with a southern-influenced sound that feels a little sludgy and carries a great deal of downtuned guitar with it. Throughout the disc, it switches from a catchier radio-rock friendly style to more hard-edged pieces where the harsh vocals are sometimes utilized. It almost feels like a balancing act in that regard, but should come off accessible enough for fans of both heavier and lighter rock songs. It’s very hard to really classify this as a full-on metal album, even though it does indeed contain a few metal moments.
“Carry My Bones” starts us off with a radio-friendly hard rock approach that takes a little too long to get started and doesn’t really meld with me. I guess I can understand the whole mid-era Drowning Pool influence there in the harsh shouts, but perhaps this one has a bit too much structure. With a song like this, where the chorus is such a hefty piece of the performance, it may have been better for the band to go with a more simplistic style. “Gun and a Bullet” is a bit more punchy, going for a much heavier, early BLS sound. At the same time, it tries to throw in more of the radio-friendly choral material that gains attention in the mainstream. “Retract and Disconnect” uses riffs that I swear I’ve heard before. It feels like a familiar song played by a different band, which to me is quite weird. Well, at least it has a notable solo effort thrown in to make the performance come off a bit stronger. “Fall Of A Nation” feels a little undercooked as far as the vocal lines are concerned, but the furious backing chorus seems to bring up a notable spotlight. “Vessels Of Hate” chugs along to punch in a quick chorus and draw a divider between atmosphere, a middle-eastern riff and a thunderous amount of vocal aggression. “Day Of Judgement” didn’t really offer anything new to the performance, coming off as a decent song more or less. “A Note To Me” is about the closest Corroded gets to Nickelback, albeit with some acoustics and a tinge of atmosphere. To say that this one is radio-friendly is a bit of an understatement. It’s definitely the lightest track on the album and definitely a ballad. Crunchy guitars make up “Burn It To The Ground” which is a little more of the same insofar as heavy riffs and light radio choruses are concerned. It feels like a theme that you might hear on an advertisement for a wrestling event, or a track that might play at the end of a hardcore action film. There isn’t really much to say about “DRF” and “Feel Fine” other than the fact that they’re relatively short numbers and prove little in retrospect. The disc’s final cut “Rust and Nail” adds a little more body to the performance, but it’s not all that memorable in my book.
To be honest, Corroded are alright. I know, that’s putting it a bit bluntly, but from what I’ve experienced here it just seems like radio rock with some extra bells and whistles to make it seem a bit more pretentious than what it actually is. Yes, the guys have talent. Jens Westin has the whole American hard rock approach down as far as vocals and riffs are concerned, with Tomas Andersson adding a little bit more here and there. But you know, it’s mostly about Bjarne Elvsgård’s bass riffs and how much crunch these guys can get away with at one time. They are a houshold name in their native Sweden and will no doubt be considered a major hard rock act there. They’ll probably even play some shows with hard rock acts from around the world, if they have not already. It’s just a bit too simplistic for me and I’ve heard a few better rock acts recently – especially Sweden’s Night Flight Orchestra which isn’t even a hard rock act at all – but they’re a fantastic rock band in their own right. It all comes down to matters of taste however, so if anything I’ve described here catches your attention, be sure to pick up the album and give it a listen yourself. It is almost exactly as I’ve described, but I understand that a lot of people dig that sound as well. I’m not here to knock it, just to state my opinion.
(11 Tracks, 49:00)
6/10