SUBSOURCE – A Dubumentary - DVD Review

SUBSOURCE:  A Dubumentary  ( Produced and directed by the Fallow Field producer Colin Arnold ) follows the UK live dub/dance band SUBSOURCE on a musical journey -  a tour across Europe for a period of 18 months -  and a period of evolution and growth for the band.

Cameras closely follow the group as they travel across the UK, France, Belgium, Switzerland, and Germany,  and  their uniquely energetic performances are captured carefully within the footage.
Like all rockumentaries of this type, the camera managed to reveal some of the highs and lows of a band trying to ‘make it’  in the music industry. Most music documentaries are created  once the band has made ‘the big time’. But this film is unusual  in that it sets out to capture the development and growth of a band as it actually happens. Very few films of this type manage to capture this unfolding in such an intellectual and immediate way.

Even if they do not intend to make their film (and subjects) look stupid, the makers of serious music documentaries always come close to creating their own version of ‘Spinal Tap’   The “Spinal Tap” moment in this movie is during the opening sequence when band members seem lost in the huge maze of rooms and cupboards behind a main stage just before a performance. As they fight to find their way out of this nightmarish labyrinth,  we are introduced to their music.

Then we are cleverly introduced to each member of the band. The film-makers focus, to some extent,  on the rapper and frontman Kimba Mutanda – and that pays off later in the film, with dramatic effect.

We follow the band as they appear at various venues and festivals, some large and some small. Eventually we follow them to a back street venue in Hereford, England.  The band seem to be playing to about five people at this gig. Guitarist Paul Frazer wise-cracks that the promoter must have paid “30 pound for each member of the audience.” But right after the Hereford concert, things start to come undone. Thus we see the cracks as they appear, and we also see the healing processes when they begin to take hold.

Interesting and humorous moments in the monochrome film include the ‘van envy’  scene in which the band members show us all their old – but much-loved  – wreckage of a tour bus. Later we are shown the van’s demise. So sad.

We are also exposed to that routine cliche of “We don’t ever fight, we all agree” Then shortly afterwards we see Kimba with an injury, as he tells us that he was struck in the head by the bassist. This is followed by their sweet-talking band manager Dominique trying to calm things down with some soothing words. But without a cricket bat to hand.

We learn how the band members make ends meet financially – working with students for ‘up to’ 11 hours a day – (they are all music teachers).  But they tell us that, when they are on the stage, they get their reward. The reward is the stimulation of playing.  In fact, for singer / bassist Stu Henshall, that 30 minutes of excitement is all he asks for. It is his only focus. Dennis Ng (keyboards) says he does it for the sense of adventure.

The music of Subsource is defined by the band as punk dubstep. NME  Magazine described their sound as  “Like The Prodigy teaching a noise violation seminar to Sonic Boom Six.’’  But over the last 12 months we have noticed that their sounds are becoming increasingly hard and rocky. It is not surprising that, in the flim,  all members of the band seemed, at some point, to mention Metallica.

For those who may be put off by their type of music (and therefore could lose out on seeing this wonderful documentary) please put your prejudices aside, and try not to base any buying decisions solely on the music. Just think of this as a story about a group of hard-working people drawn together with just one clear ambition – to keep playing their music  live to the people who want to hear it.

This is an excllent rockumentary. Edited subtly , filmed aesthetically. And very rewarding, for musicians and music-lovers alike.  Thoroughly recommended.

- © Neil_Mach October 2012 -


Link:
http://www.facebook.com/subsource

The generously packaged DVD includes an hour’s worth of extras : Official Music Videos, Making Of feature, bonus tracks, commentaries.

OUT NOW !
Click here to order your copy from Amazon.

Shout Timber New Single

Shout Timber deliver intelligent, upbeat, melodic indie pop, subtly flavoured with Indian heritage and bona fide class with their release of ‘East India Trading Company’.

Download link: http://soundcloud.com/shouttimber/east-india-trading-company

‘East India Trading Company’, the first of two singles to be released this year, is Shout Timber’s take on travelling through India for the first time – the barrage on their senses,  the colours, the people, the sounds, the smell.

Both tracks were produced by Tarek Musa (Jethro Fox, Eye Emma Jedi, Kankouran, Spring King) and mastered by the inimitable ear of Tim Debney at Fluid, who have captured a potent balance of Alex and TJ’s Indian roots and the Southern English class of Sam and Will.

The track has been released with a video composed of authentic footage of India –makeshift, spontaneous shots recorded while travelling through the country, to make you feel like you’ve just experienced your own road trip through the East.

Drawing as much influence from their love of vintage American literature and cinema as they do the melodies and honest lyricism of The Smiths, harmonies of The Beatles and the afro-rhythms of Vampire Weekend, this London based four piece are fast establishing themselves as an original, clever yet wholly accessible new talent on the UK scene.

RAW RAMP took a listen to the single, and here’s what we thought:

Market noises are hastened along by the swishing cane of drums and the chastening hustle-bustle of guitars. A turban of oily sounds wraps itself around the tender vocals, making the song sound almost Caribbean rather than particularly Eastern in flavour.  In fact, if you added the sugar and rum, this would be a calypso song.  

Bass notes are thumped out. And beats nod  along. Everything seems pretty normal until the song seems to collide with, what seems to be, a rickety tuk-tuk of sounds containing pots and pans, a flurry of chicken feathers, and a splattering of Masala  spices. Then the advance of the palanquin, once noble, starts to resemble a stockcar accident . But once the crash is over, we bounce along again, unperturbed,  and perhaps even a bit more cheerfully.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/thefamilyrain

Howl Griff Interview

Anglo-Welsh-American psychedelic rockers Howl Griff released their third full album, Fragile Diamond, on 15 October 2012.

Following their critically acclaimed eponymous Welsh language debut (which Clash Magazine called the work of a “Welsh Brian Wilson”) and the English language LP The Hum – (which yielded much coverage on BBC 6Music including an MPFree of the Day) – the band has taken another major step forward.

RAW RAMP MUSIC MAG recently described this new album as  “A hugely gratifying frolic [ that] will make you feel warm on the  inside…”

Neil Mach talked to HOWL GRIFF about recording, performing, and the various influences on their music :

RAW:  How fragile is the music that you create? Do the sounds have the strength, determination and the will to succeed in the notoriously harsh landscape of 21st century music?

HOWL: Well, it’s not all jangly and fragile.  There are songs on the album such as ‘She Walks On By The Flame’ and ‘FÜßßBÜKKËR’ that really rock out in a big way.  The reason we sound jangly is that I made the mistake of buying a 12 string Rickenbacker.  I had no intention of getting one.  A friend of mine runs Wunjo Guitars on Denmark Street  and he had one and I loved playing it and he sold it to me for a very good price.  It just so happened that every song I’d written sounded like The Byrds now!  Gary and I both sing and really like harmony groups such as The Beach Boys and The Beatles so it was natural for us to sing like that.  Steve, who recently joined the band, sings too.

RAW:  What is the special reason that your new album ‘Diamond Fragile’ is a production in English? [The first album Howl Griff (2008) was Welsh-language.]

HOWL: Well, we’re based in London and ¾ of the band are English speakers.  I’m the only Welsh speaker.  Most of our gigs are in this part of the world and while I will write another Welsh album someday, now is not the time.  We also felt that we were getting somewhere with our previous album ‘The Hum’ and so decided to push on.

RAW: Have you changed the title of your new album, from Sharkfins In The Sky to Fragile Diamond ? If so, why?
HOWL: We just decided it was a better title.  It’s as simple as that really.

RAW: Can you tell us the story behind the  ‘Sharkfins In The Sky’ track?

HOWL: We used to rehearse above an ice rink in Streatham.  It’s been knocked down now.  While we were loading our equipment into the car we heard and saw a commotion.  It turned out that these kids were breaking in through the fire exits into the ice rink where there was a disco going on.  It was an attempted robbery and an innocent young lad was shot and killed on the ice rink.

RAW: How much influence do the poets and writers of the ‘beat generation’ have over your music and your style?

HOWL: I’ve read some Kerouac  and Hunter S Thompson but I’m not sure if it’s ever influenced the songs.  But maybe everything that you’re exposed to influences you in some way?

RAW: Your sounds have been described as surf music. Songs like ‘Emily Rose’ seem to identify with a place / culture similar to that found on the beaches of Southern California in the 1960’s.  Have you been inspired by ‘Surf Music’ philosophy and culture?

HOWL: Some of the songs may have a surf guitar element to them, mainly due to the guitars and amps that we use.  I come from West Wales so I do feel an affinity to California on some days of the year, but usually it’s wet and cold.  We’re quite laid-back people so I guess there’s a bit of a hippy vibe going on …  but we don’t limit ourselves to one style or sound.

I wrote the Rose Of Emily on the Isle of Skye on a beautiful sunny day.  So it’s probably more Scottish than anything!

RAW: How do band members from such geographically (and socially) different places – Aberystwyth, Bolton, Merseyside and Texas – get on so well together? What are the disadvantages? What are the positive aspects? What are the strings that bind you?

HOWL: Music.  We have other interests outside of music but the one thing we all share is the love of creating music.  The ability to make music excites me so much more than listening to it.   The fact that we’re making music together is serendipity really.  Nick and I used to share a house together. Then Gary joined and he was a work colleague of Nick’s.  Steve joined as he’d come over from California to work in London and I lived with a work colleague of his who placed a ‘bass player wanted’ ad at work.

RAW: Vocally, the sounds of Howl Griff are fresh, and the harmonies are exquisite and effervescent. How much effort is put into creating vocal sounds that are as lush as these? Can those sounds ever be recreated accurately in a live show?

HOWL: The vocal harmonies are all Gary’s work.  He writes them all and sings them perfectly.  He has perfect pitch too.  He then teaches Steve and I our parts to complement his.  We sometimes double-track the vocal parts to thicken them out.

There is no auto-tuning whatsoever.  What you hear is what you get.  Gary will probably do an acapella solo album one day with multi-tracked vocals.  It will sound amazing!  We’re pretty good at doing them live.  You should come and see for yourself!

RAW: The verse of ‘Everything’ on album ‘Fragile Diamond’ sounds – to us anyway – like something from Gary Numan. Which darkwave musicians would you admit to being influenced by?

HOWL: That’s interesting.  Well spotted. I loved Gary Numan’s music as a child.  I like the way he sings.  I can still play the riff from Cars on my guitar.  I like a lot of music from that era, darkwave, new wave too, particularly Joe Jackson, Teardrop Explodes and Talking Heads.

Thanks Howl Griff

- Howl Griff was talking to talking to © Neil_Mach October 2012 for RAW RAMP music magazine -
Link
http://howlgriff.com/

JOANovARC Interview

JOANovARC is the first British female band to be featured on the ‘Rock Band Three’ Xbox 360 game!
Players can add their existing Rock Band music libraries by purchasing the song game track.

Last year JOANovARC released their debut EP ‘Beneath the Sky’ on iTunes which was described as “An amazing debut EP”  and ” A must for any music lover …” by delighted fans. They were also very busy promoting their EP on radio and TV stations across the world… And they then went on to sign a publishing deal with Speegra Music in the UK and Veal Steen in the USA.

We love their commitment to pure rock ‘n’ roll. Take their track ‘Seeds of Summer’ for example. This song shines like a new bottle of Jack  in the Lynchburg noonday sun. Glittering guitars cake those blue blood vocals, and the overwhelming chorus looms and ascends like a glorious fusillade on a blazing horizon.
With influences ranging from  Jimi Hendrix & Led Zepplin, right  through to the Kings of Leon and Foo Fighters – what’s not to like?  And as Bruce Dickinson once said about the band, “These girls can shred!”

We talked to the band about their busy year so far:

RAW: How was your American tour?

JOANovARC: Our favourite gig this year was at the Florida Music Festival. We were on the main stage, we were well received and the audience really appreciated rock music. They were very enthusiastic and loved the fact that we were rock chicks from Great Britain!

We really enjoyed our trip and we were also received well on college radio and the Florida Music Festival was a great opportunity. We  were spotted by Gibson guitars at the main stage and we were honoured to meet the managing director Michael wagoner of Gibson guitars. He took us to his office and said he would support JOANovARC all the way. He showed us his gold discs of all the bands he had worked with including AC/DC, Nickelback  and Slash! It was a moment we will never forget.   We were thrilled with his support for the group. We are so grateful to be getting support from Gibson guitars, it means we can go anywhere in the world and have free instruments to use whenever we like. Not many bands have this privilege. The Florida music festival was amazing and we had a great show.

RAW: Would you tell us about your ‘Rockband’ releases …

JOANovARC:  We are over the moon and we are so excited that we have been given the chance to show our music to the gaming industry. We landed the rock band opportunities through a publisher and sheer luck and timing. We were chosen to be placed on the game! We were lucky to have two tracks on there, one being the first Japanese song on the game… Our friends in Japan were very happy!

The Xbox Company Rock Gamer in America made their decisions but we suggested that our Japanese rock track would really suit the game as it was unusual, energetic, would be the first ever Japanese song on the game and had a great challenging drum track for the Xbox fans to play!


RAW: We see that you have been playing biker events this summer  … What sort of reception are you getting at these kind of festivals?

JOANovARC: We love performing at biker festivals and we are doing more including Harley Davidson in Austria. We are in our comfort zone at these festivals as we can perform the music we really love and we have a chance to let rip with 10min guitar solos! The reception is amazing for us.

RAW: How was your experience at The 100 club in June ? (Rock Band 3 Launch) Did you begin to feel that your were now playing a part in rock history?
 
JOANovARC: When we were looking at venues for our launch we could not think of any place better than the 100 Club. It has so much history, all the greats have performed there, even some of our music heros. The Club still has a great vibe and we were honoured to perform our launch show there.

[ The Girls will be back at the Legendary 100 Club on 7th December with the amazing Kenelis.  Tickets from Joanovarc.co.uk or the100club.co.uk ]

Thanks JOANovARC.

- JOANovARC were talking to © Neil_Mach October 2012 -

Cornelia Live Review

Cornelia Live at Boiler Room Guildford
Image © Neil Mach 2012

On Monday 15th Oct we were lucky enough to see the Swedish singer / songwriter and electronic pop temptress, Cornelia Dahlgren at the fabulous Boiler Room venue, in Guildford, Surrey.

Cornelia participated in the first season of Swedish Idol 2004, but dropped out of the show in the final stages because she did not consider the manufactured approach to the music to be what she was all about. She instead chose to start her own label ‘Camp Mozart’, and debuted with an EP release entitled. ‘Capsule’ .

Recent widely acclaimed collaborations with artists such as Portico Quartet  and Scratcha DVA have brought her to the forefront of the music scene in the UK.  We saw this strange musician supporting the amazing and sumptuous sounds of the Submotion Orchestra – the 7-piece project from Leeds.

Entering into the world envisioned by Cornelia is like being trapped inside a snow dome, with a swarm of moths. It is not a particularly pleasant experience, but it is not truly distressing either. Uncomfortable enough to give you nightmares, but you could endure the sensation for an eternity. The relentless wing-beatings are somehow comforting. Pellets of sound strike you … creating uneasy memories that will never go away.
Her voice is Kate Bush, Katie Melua and Lene Lovich – all rolled into one.  And then smothered in popping candy. If you listen to this at the same time as drinking cola, it will cause your stomach to explode. And that is a fact.

Shadows of sounds come and go, tempting the listener briefly before wisping to heaven. Into this simulated reality of synthetic sounds and mixed, disjointed bass notes,  comes the voice of Cornelia, at once disturbing, tragic … renegade.  It has a fleeting, spectral quality that does not materialize properly. It will always border on the ethereal world.

Take her song “Stormy Weather” – the bumpy, potted traffic-jam of noises encrust the baby-voiced bleats of the singer. The song touches you in places you wish were not touched. It feathers you, and slides down your backbone… stroking and teasing its way into your nervous system. It is creamy and delicious.

Or listen to the older song  “Aquarius Dreams“, which rises and falls like a sinus beat. A grumble of lightly percussive sounds creates a rustle, while the gloopy electronic soups bubble and broth. But rising from this boiling mix is the steamy voice of Cornelia. It shimmers and glides across the surface.

Cornelia is a dangerous kalidah and she cannot be trusted.  If you feel safe within her glittering folds, beware. She will attack you, and she will stab you. With prongs of power. You had better give her the attention she demands.  You will hear much more from Cornelia in the future.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/iamcornelia

The Planes Live Review

The Planes are a four piece indie rock band from Portsmouth, on the south coast of England. They have been gigging since February 2011 and have since then reached the finals of The Wedgewood Rooms Showcase, and they have played the Southsea Fest. They have also played gigs with Club NME, supporting up and coming acts like Cerebral Ballzy, Jumping Ships and Sad Day For Puppets. Having enjoyed local success the lads are now keen on bringing their sound to a larger audience across the UK.

Raw Ramp was lucky enough to catch the band at Surrey’s favourite live music venue – The  Boiler Room, Guildford on Friday 05 October, where they supported  Films of Colour, Cities of Glass and Secret Son.

The sound of The Planes is haughty and trashy. They come across as lonely lanky lads, with floppy hair dos, devil-don’t-care attitudes, and bucket loads of style. Imagine the Stone Roses crossed with the Libertines to get something of an idea of what’s going on. They readily admit to being inspired by the Small Faces, and that shines through, in their looks and their polish.

Songs like ‘Looking At Me’ illustrate the ability of the band to find a hook and then use it, masterfully.  Mike Smith’s vocals (lead vocalist and rhythm guitar) are clear-cut and inspired.  And the harmonies are sweet. Sweet as honeyed rye.  Guitar work is precise and imperious. The drumming ( Ollie Shaw) is as tight as a Punkie’s doodah.

The Planes song  ‘On Demand’ reminded me of work by The Style Council. Crisp arrangements, smooth bass lines (Chris Smith) , and just the right amount of peppered funk. When the lyrics are peeled back, they reveal an inconsistent maturity.

The band played a new song at The Boiler Room – which, they say, will be on the highly anticipated new EP ( released next month.) ‘Stay The Weekend’ has crunchy guitars, dizzy harmonies and a terribly catchy chorus … as well as those shamelessly sashaying guitars from Sam Wardle (lead guitar) .

As the band squeezed out their last song, I got to thinking that we are going to see a lot more of these guys. And that’s a good thing.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/pages/ThePlanes

Kitten and The Hip Live Review

Kitten and The Hip Live at Boiller Room
Image © Neil_Mach October 2012

One year ago, Ashley Slater met Kitten Quinn.

Ashley Slater is a UK based trombone player and best known for his work with Norman Cook (aka Fatboy Slim) in the band Freak Power.  Kitten  is a beautiful and intelligent singer songwriter. Together, they write songs, hang out, and play mischief.

In February, they were having a chat, and Kitten advised Ashley not to worry about something or other. Their dance-floor hit ‘Don’t You Worry About That’ was born the next day.

Live, Kitten and The Hip are usually a quartet, with Kitten singing and Ashley taking to the trombone and providing ‘scat’ style improv vocals. Kitten is a natural front-woman, at once mesmerising and powerfully seductive.

At Guildford’s favourite music venue, The Boiler Room, 4th October 2012,  the band played their debut single “Dont You Worry” ( which has been signed to Hed Kandi and is promised major success in the clubs.)  This song has gleaming vocals with a hint of sexy varnish around the smooth jazz edges. The cheeky trombone adds an impudent spiciness to this swing time Lindy Hop dancing track.

At the Boiler Room, Kitten & the Hip played without drums,  and there was, in my opinion, a slight over-reliance on their prerecorded backing tracks. Songs like ‘Don’t Touch the Kitten’ have a lush “swing era” feel to them.  Kitten’s cleaned out pipes really shine… chromium plated diamond studded style. The lilting ‘Swingle Singers’ sounding backing vocals adds some fine razzmatazz . And the ‘bone rubs up against the cat’s plate-glass voice – creating a heady static electricity to the fizzy pieces.



With their boogie woogiman connections and Manhattan Transfer  style evocations, their material is clubland polished. If you go mad for the “Swing house” thing, this may be for you.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/pages/Kitten-and-The-Hip

Twilight Sad Remix Track Giveaway

The Twilight Sad are an indie rock band from Kilsyth, Scotland, comprising James Graham (vocals), Andy MacFarlane (guitar), and Mark Devine (drums). The band have released three full-length albums, as well as several EPs and singles.

Following on from their Andrew Weatherall produced album ‘No One Can Ever Know’,   The Twilight Sad are now giving away one of the nine tracks from their forthcoming remix album.

‘No One Can Ever Know – The Remixes’ includes collaborations form the likes of Com Truise, Breton, Tom Furse (The Horrors) and, notably, Liars, who the band credited as one of their biggest inspirations for the album.

The album, due for release on Monday 5th November will be preceded with a full UK tour this October, as well as a homecoming date in December:

We listened to the giveaway track  ‘Nil’ (Liars Remix) from the forthcoming album, and here’s what we thought:

A slimy synth prods and harasses the popped up cluster of crackling beats. Then an invidious set of liquid vibrations purr sweet rhythms into your inner ear. This lip-smackingly tasty track has a hell-for-leather pace and a frothy mixture of inventive vocals-  together with some juddering motifs. This piece is a sonic swirl of activity that swarms around your head like a befuddled host of moon-drunk moths. - © Neil_Mach October 2012 -

Grab yourself the track right now from the Twilight Sad facebook site:

http://www.facebook.com/thetwilightsad/app_220150904689418

The album, due for release on Monday 5th November will be preceded with a full UK tour this October, as well as a homecoming date in December:

Thu 18 Oct – NEWCASTLE – Cluny
Fri 19 Oct – WAKEFIELD – The Hop
Sat 20 Oct – MANCHESTER – Sound Control
Mon 22 Oct – BIRMINGHAM – Hare & Hounds
Tue 23 Oct – LONDON – Dingwalls
Wed 24 Oct – BRISTOL – Louisiana
Thu 25 Oct – CAMBRIDGE – Portland Arms
Fri 26 Oct – LEEDS – Brudenell Social Club
Sat 27 Oct – PRESTON – Mad Ferret
Sat 15 Dec – GLASGOW – Barrowland Ballroom

Fahran Debut Album Review

Fahran is a five-piece, melodic, hard-rock band from Derbyshire. Formed in 2006, under the name, Toxic Federation, the band quickly set about writing and performing their own material.

The songs, honed on the road, were released independently by the band, in 2008, on their debut album, ‘Behind the Mask’ – incredibly, when the average age of the band was just sixteen.

Following the departure of both their lead vocalist and rhythm guitarist in 2011, many thought the future of the band was uncertain. However, before the year was out, they were back on-stage with a new frontman, Nick Whitcroft. In his time fronting Rugby-based alternative rock band, Void Illusion, Nick extensively toured in the UK and abroad. He also worked hard,  developing his voice with bands across a range of genres such as rock, prog, metal, funk and blues. Nick is an impressive, lively, experienced singer, whose vocal talent is equally matched by his enthusiasm and drive.

The new five-piece line-up amounts to a darker, heavier and far more mature sound – this is a band that has worked for all they have achieved, leaving them with a seasoned gravitas.
Fahran’s self-titled debut album will be released on the 15th October 2012 featuring 12 brand new tracks. ( Mixed & produced by guitarist Jake Graham.)  It will be available from HMV, iTunes, Amazon, Play.com and many other online stores.

We had an early listen to Fahran  [available for pre-order] and here’s what we thought:

‘Silver Scene’ explodes into life with blazing rim-fire percussion, boss-man riffs and startling vocals. But you soon realise that something is afoot, especially when those syrupy  guitars snakily ooze out and enfold you within their greedy enticingly tender tentacles. Yes, you will be hooked.

‘Stay Alive’  has a mysterious beginning. A weak vision rising murkily from a misty swamp. Then the vision gurgles and mutates into a grotesque but magnificent riff. Heart-rending vocals splinter out and tumble across the muddy, wallowing landscape. An oil-slick of deeply rutted sounds is rattled alive by the splendid speed of those drums as they deftly roll into the golden pools of guitar that spit out from the heavy darkness.

‘Cynics and Dreamers’ crunches along a well-worn silica path. This is masculine, tight shirted,  heavy waistband, classic rock ‘n’ roll …  at it’s most potent.  It is the most powerful thing you will strut to this year.  The relentless march is reinforced by a pounding bass and creosote stained guitars. This track is probably not for any cynics out there …

‘Ashes’ emerges like a shimmer of steely light. Dangerously sharp drum-work threatens to lance into your soul. While the guitars will bend and grind you into submission . And ‘In Our Eyes’ is garnished with bubbling bass notes and a gushing tempest of vocal artistry.

‘Crude Design’ has a clever patchwork of sounds -  they swing back and forth, creating an irregular mosaic for the grizzled vocals.  ‘The Vagrant’ has a steamy guitar intro. This wheezes and windily spindles out, so sinfully proud. The hairy-chest vocals from Nick may even remind you of the artistry of Paul Rodgers.

‘Serenade’ has a mystical flavor and some flakes of perfect guitar that encrust the voice that is melted inside, and tightens the melody. ‘While ‘We See Right Through You’ is an attack of demonic quality. A mighty rush of air and an all engulfing power-crusade. Sagacious lyrics and a hurtling pace will take you to the very edge of your expectations -  and will then let you go. Into the abyss you will hurtle.

The hard rock anthem ‘Bittersweet History’ sounds like something that could be from the “Tom Scholz” back catalogue. Effervescent, high sheen, superlative production quality and a squeaky-clean piece.

© Neil_Mach Otcober 2012

Link:

http://www.fahran.com