Saturday, 28 November 2020
Black Stone Cherry's 'The Human Condition' - Album Review
Saturday, 21 November 2020
Leaves' Eyes' 'The Last Viking' - Album Review
Tuesday, 17 November 2020
Armored Saint's 'Punching the Sky' - Album Review
Saturday, 14 November 2020
Bruce Springsteen's 'Letter To You' - Album Review
Despite the fact that a potential new 'full band' album from Bruce Springsteen was being talked about even before the release of last year's sparse, but excellent, Western Stars (which I reviewed here), I did not think that one was very likely. For one, artists very rarely release new albums of original material two years in a row these days, particularly veteran acts, but also I just did not see Springsteen in that headspace. While his legendary E Street Band are still the staple backing band for his live shows, in the studio the E Street Band as a collective whole has somewhat been side-lined over the past decade or so. The last album that was purely a collaboration between Springsteen and the E Street Band was 2009's Working on a Dream; with the Boss spreading his wings somewhat in regards to backing talent in the meantime. This is not to say that the E Street Band were abandoned completely in that time, as various of its members have appeared in more limited capacities on the albums released in 2010s. It could be argued that 2014's odds and sods collection High Hopes (which I reviewed here) was a true E Street Band collaboration, as many of its members past and present were featured on most of the album's songs, but there were still a lot of other people brought in to add their talents to what was ultimately one of the best odds and sods collections of all time. Even the more acoustic and reflective Western Stars, one of Springsteen's handful of true 'solo' albums, featured former E Streeter David Sancious on a couple of songs; but the point still stands that it has been 11 years since Springsteen went into the studio with the E Street Band and rattled through a collection of heartfelt rock tracks in the way that only they know how - which, to me at least, was a shame. You will appreciate my excitement then when Letter To You was announced a couple of months ago - the full band album that had been rumoured. Reading the press release got me even more excited, as it was revealed that the album was solely recorded by Springsteen and the current incarnation of the E Street Band - and that most of it was captured live in the studio, with only a few overdubs added after the fact. This got me thinking of those classic Springsteen albums of the 1970s and early 1980s, and now that I have had the album in my possession for a few weeks I can say that Letter To You is a very impressive release - and packed with all of the Springsteen and E Street Band goodness that any fan could wish for. While I am not sure that he will ever top albums like 1975's Born to Run or 1980's The River; those albums are classics for a reason after all; Letter To You is up there with the best of his more recent works. There are hints of albums like 2002's The Rising and 2007's Magic here, although with perhaps a greater sense of melancholy - which makes this something of a perfect companion piece to Western Stars.
Such is the link between Western Stars and Letter To You that the album actually starts off in a way very similar to how the previous album left off - so much so that I wondered if the press releases I had read had been exaggerating the overall sound of Springsteen's latest! One Minute You're Here sounds like a song leftover from the Western Stars sessions, with Springsteen's melancholy vocal delivery and sombre acoustic guitar chords filling the speakers - with only a smattering of other instrumentation, such as Roy Bittan's occasional piano, backing up the song's core. The album never sounds like this again, but the gentle introduction works well. It links Western Stars perfectly to this new release, and it acts as a bridge between Springsteen's last album and the wall-of-sound E Street Band approach that characterises the next 11 songs. It is fitting then the album's next port of call is the title track, the first song here that was released - and the first true E Street Band song for a number of years. Max Weinberg's drums open things up, before the three-guitar attack of Springsteen, Stevie Van Zandt, and Nils Lofgren lay down an organic but full-bodied opening barrage. It is a song that showcases the best of the E Street Band over the years - with nearly everyone shining. The verses feature lots of that great Bittan piano, possibly the E Street Band's defining sound, while Charlie Giordano, on his first full outing with the band in the studio despite a number of guest spots, lays into his Hammond organ throughout. The chorus is classic Springsteen too, with hooky melodies that pour out of the speakers - cutting through the dense mix in the rallying way that only he can truly master. It is a great rocker, and when paired with One Minute You're Here the combination of the two makes for a powerful and heartfelt album opening moment. Burnin' Train takes things to the next level however, and it is a driving rocker that recalls some of the higher-energy moments on Springsteen's other recent releases. The E Street Band backing makes it all that more powerful however, with Van Zandt's garage rock guitar rhythms and nasally backing vocals giving things a real kick - while an anthemic chorus is made all the better by the tight groove laid down by Weinberg and bassist Garry Tallent. There are lots of classic E Street Band hallmarks here too, such as a pair of deliberately sloppy guitar solos, presumably from Springsteen himself, and the epic sound that comes from the piano and organ weaving together perfectly. It is a powerful song, and one that recalls the rocking moments of albums like Magic and The Rising - and it is one that I hope to hear live someday. Three of the songs here were written a number of years ago, but were finally recorded properly by Springsteen and the band here. Janey Needs a Shooter is one, although Warren Zevon recorded a version of it on his 1980 album Bad Luck Streak in Dancing School. This recording is based off of an old demo however, and is brought to life by the current E Street Band in classic fashion. It is one of Springsteen's more plodding rockers, harking back to songs like Backstreets and Adam Raised a Cain, but the raw production and the tightness of the band really brings it to life. While Bittan's piano is perhaps the song's most dominant instrument, it is Giordano's organ that is the most impressive element of the song. In fact, it would not be a stretch to say that Giordano is Letter To You's MVP - as his playing is all over nearly every song here. He has really managed to evoke the spirit of the late Danny Federici throughout the album, and the dancing organ melodies throughout Janey Needs a Shooter really showcases what he brings to the modern E Street Band.
After the excellent opening four numbers, Last Man Standing showcases a little bit of a drop in quality. It is probably the only song here that does not really resonate with me as much as it should, but repeated listens to the album has heightened my appreciation for it. It is a bit of old-fashioned Americana, and contains many classic Springsteen hallmarks, but for me the melodies are not as memorable as those in many of the other songs here. It is notable however for being the first song here to prominently feature Jake Clemons' saxophone. Clemons was featured on a couple of tracks on High Hopes, but Letter To You is his first full outing with the E Street Band in the studio. His bluesy saxophone style is a perfect fit for the band, and his solos here recall the many that his late uncle laid down for the Boss over the years. They help to elevate the song, but it is probably the weakest cut here for me. The Power of Prayer instantly gets the album back on track however. Bittan's piano opens the song up slowly, but it soon morphs into an upbeat rocker with beautiful melodies and some excellent lyrics. This is the sort of song that I feel Jon Bon Jovi was trying to write for his latest album 2020 (which I reviewed here), but the difference in quality between the two is stark. Songs like this come naturally to Springsteen, and it helps that the E Street Band contains some of the best musicians for this genre of all time. Bittan's piano throughout is just so heartfelt and uplifting, while Clemons again gets some time in the spotlight with some aching saxophone melodies. The song is a perfect mix of reflective and joyful - something which Springsteen has mastered so well over the years - and it is a standout for that reason. House of a Thousand Guitars is similar, and in fact builds on the sound established on The Power of Prayer - taking it to the next level. It opens with Bittan's piano and Springsteen's vocals (including a little lyrical call-back to Jungleland), but the other members of the band slowly join in to widen the sound as things progress. Giordano's organ subtly joins in to weave his magic in with the piano melodies; and when the drums kick in the joyful nature of The Power of Prayer returns in a big way with the same driving grooves and bouncy vibe. This song is a bit deeper musically however, with subtle slide guitar licks, presumably from Lofgren, adding some bluesy touches; while Giordano and Clemons link up for some joint melodies that fill in all of the song's gaps - particularly towards the end. It is another great track that showcases the depth of the E Street sound, and one that brings out the best in everyone. Rainmaker initially sounds like it could be another Western Stars hangover, with its rootsy acoustic intro, but it soon morphs into a bit of a raw rocker with garage rock guitar tones and punchy, hollow-sounding drums. It again recalls the old Backstreets vibe at times, but with the talents of Van Zandt pushed to the fore - his guitar style driving the track and his vocals prominent in the mix. This is another song that has grown on me a lot over repeated listens to the album, and I like the old-school sound that has been achieved here - and it sounds like a real throwback to Springsteen's first couple of albums.
If I Was The Priest is another of the three older songs recorded here, but a version recorded by the original Hollies frontman Allan Clarke was released in the 1970s. The song is another that starts slowly, with chugging acoustic guitar and ringing piano chords; but it soon builds up around a hard-hitting drum groove and more of Giordano's enveloping Hammond. Unsurprisingly, the song is quite similar in style and pace to Janey Needs a Shooter - and it really showcases the songwriting style that Springsteen adopted during the early 1970s. It also goes to show just how many great Springsteen songs are probably yet to be heard. Despite all of the various collections of then-unreleased material that he has put out over the years, there are still other nuggets to be heard. If I Was The Priest is a great addition to the album, and I am glad that Springsteen decided re-record a couple of old demos here as they really add to album, and crucially they slip in seamlessly with the new material - which shows how timeless Springsteen's style is. If I were to pick a favourite cut here however, it would be Ghosts. As much as I like all of Springsteen's moods, my favourite songs, unsurprisingly, are usually his driving rockers. This album could have benefitted from a couple more of those in my opinion, but Ghosts is the best example of that style here - and it is packed with soaring melodies and classic E Street tropes. The verses are filled with brash guitar rhythms to perfectly compliment Springsteen's lyrics and tough vocal delivery, while the choruses feature huge harmony vocals from the whole band that allows the song to really kick into the higher gears. Anyone who has heard a classic Springsteen album will instantly be familiar with the overall vibe of Ghosts, but it is a style that never gets old. This is a song that is made to be heard live, and the closing moments that feature Clemons' heroic saxophone lines and the wordless vocals of the whole band showcases why Springsteen works best when backed by the E Street Band. Song for Orphans is the final of the three older numbers, and the only one that was not previously released by someone else. It is similar to both Janey Needs a Shooter and If I Was The Priest, but with perhaps bit more of a rootsy sound that incorporates Springsteen's harmonica throughout. The arrangement here pushes Springsteen's lyrics to the fore, and as a result the band is a little more restrained this time around. They are mostly here to back up Springsteen's Dylan-esque performance - but there are still hooky moments such as a heroic chorus that prominently features the vocal harmonies of Patti Scialfa and some more bluesy slide guitar. It is another track that takes a few listens to fully appreciate, but it is one that eventually does take hold to become a powerful number. It is left to the snappy and hooky I'll See You In My Dreams to bring the album to a close. It might not be as expansive as some of the songs here, but as a simple classic Springsteen rocker it works really well. Bittan's piano is all over the song, while the soaring chorus is one final melody to stick in the brain as the album comes to a reflective end. It is probably the sort of song that Springsteen can writing in his sleep at this point, but the magic of the band really brings it to life; and the gentle piano coda at the end is a perfect closing moment - as it echoes the way the album began almost an hour ago, bringing things full circle. This full circle moments helps the listener to reflect on the wider qualities of the album - which is certainly one of Springsteen's best in recent years. It helps that the E Street Band members all turned in fantastic performances here to help him bring his songs to life, but the quality and variety of the songwriting also shines. It is an album that long time Springsteen fans will no doubt love, and it is something that I will certainly be listening to a lot more over the coming months.
The album was released on 23rd October 2020 via Columbia Records. Below is his promotional video for Letter To You.
Friday, 6 November 2020
Voodoo Six's 'Simulation Game' - Album Review
You know that you are getting old when you start to feel nostalgic about certain bands from your youth. I jest of course, as I am certainly not old, but the point still stands - and 16 certainly feels a long way away from 29! What I am trying to say is that the bands that I was into when I was 16 or so hold a special place in my heart. Many of the bands that I was into at the time were big, established bands from the rock and metal world that I was discovering late in their careers - but there were also a handful of newer bands that I was getting into on my own terms. These younger bands felt like they were 'mine', in a way that the Deep Purples and Whitesnakes of the world did not, and I felt that I was at the heart of the next wave of great, world-beating rock and metal acts - bands that I would grow with as their statures rose. Bands like Heaven's Basement, Glyder, Dear Superstar, Glamour of the Kill, and Voodoo Six were heard as often on my iPod as the bands that influenced them, and I was certain that I was backing the right horses. Of those five quoted bands (and there were many others): two have split up (Heaven's Basement and Glyder), two reformed fairly recently to play a handful of shows and have since gone very quiet again (Dear Superstar and Glamour of the Kill), and one is still going (Voodoo Six). It was sad seeing many of the 'new' bands that I loved falling by the wayside, but it also taught me a lesson about the way the music industry operates these days, and how hard it is for a band to truly succeed. It fills me with pleasure therefore to still be talking about Voodoo Six in 2020, who released their fifth album Simulation Game last month. Originally due to be released back in March, Simulation Game follows fairly hot on the heels of 2017's Make Way for the King (which I reviewed here) - the album which introduced frontman Nik Taylor-Stoakes to the band's fans. In my opinion, Taylor-Stoakes had big shoes to fill. Both of the band's previous singers, Henry Rundell and Luke Purdie, were fantastic fits for the band as it was during their respective eras; but Taylor-Stoakes put on a commanding performance throughout Make Way for the King, ensuring that Voodoo Six lived on. I am not sure I will ever feel as strongly for the band as I did during 2008, when the band played two shows at the White Rabbit in Plymouth and First Hit for Free was a staple on my iPod, but the modern Voodoo Six is still a band that I like a lot. Only bassist Tony Newton and guitarist Matt Pearce remain from the Plymouth bus station days; but four of the five who made Make Way for the King return on Simulation Game. Long-time drummer Joe Lazarus joins Taylor-Stoakes, Newton, and Pearce here, with guitarist Tommy Gentry (Zico Chain; Gun) making his debut with the band on the album's 10 hard-hitting tracks.
In many ways, Simulation Game is the natural successor to Make Way for the King. Each era of Voodoo Six has had its own distinct sound, and with Taylor-Stoakes at the helm the band's third era has certain raw power. The band have probably been at their heaviest under his leadership, but the distinctive songwriting style and bass playing of Newton help to link Simulation Game back to the band's older albums. The Traveller kicks things off in fine style, a classic-sounding Voodoo Six tune with a Sabbathy riff and a sombre guitar lead opening things up - before Lazarus' drums kick in and the song speeds up with a big Pearce riff. Pearce's riffing is another link back to the band's older sound, his dirty bluesy style was always a big part of the band's appeal - especially when it clashed with with the shredding metal of former guitarist Chris Jones. Since Jones' departure, Pearce has been the main focal point of the band from a guitar standpoint; and while Gentry features here, this album is still dominated by Pearce's style. The Traveller could have been on one of the band's older albums however, with a melodic chorus that brings the best out of Taylor-Stoakes while some dramatic strings add depth. There is quite a large string presence on this album, and while this is not altogether new for the band they do seem to have been used in a much more prominent way this time. They help to provide a sharp melodic counterpoint to the song's murky riffing, and they ensure that the album opens with a bang. Gone Forever is a little less in-your-face, with a mid-paced Alice in Chains-esque groove dominating. Pearce and Gentry's interlocking guitar rhythms form a perfect base for Taylor-Stoakes drawling vocals, and as the song progresses the strings once again take on a prominent role - their dancing melodies providing a strong contrast to the murk. One thing that has always characterised the Voodoo Six sound, even before Taylor-Stoakes' introduction, was the looseness of the arrangements. Voodoo Six are not a band that rely on being ridiculously tight, with the looseness of their playing really adding to the overall swagger and groove. It does not matter that the production is slightly muddy and that the vocal harmonies are not always quite on point - as that is part of their grungy style. Gone Forever is a perfect example of this, but with the addition of the classy strings contrasting perfectly with the garage rock beneath. Liar and a Thief is one of my favourite songs here, and it was wisely chosen as the song to shoot a video for. It sounds like a hangover from the Purdie era, and it could have easily sat on 2010's Fluke?. Taylor-Stoakes even seems to be channelling Purdie's snarling vocal style here, and the song is a classic Newton composition with a lead bass presence during a chiming verse that then explodes into a stadium-worthy chorus. It is easily the catchiest song here, and it is the sort of thing that is very likely to go down well when played live. The chorus is packed full of classic Voodoo Six melodies, and the lengthy guitar solo allows Pearce to showcase his loose, but electric style of playing.
Inherit My Shadow is interesting insofar as it is the only song here co-written by Gentry. To be honest, I am still unsure of Gentry's position in the band, as many of the photos that have been posted on social media to promote the album's release do not include him, but he was included in the recent video shoot for Liar and a Thief so I have to assume that he is still in the band! Inherit My Shadow, despite his influence, sounds very similar to the sound of the rest of the album however - meaning that Gentry has already adapted his style to fit in with Newton's. In many ways, the song perfectly sums up the Taylor-Stoakes era of the band. There is a real grungy bent to the production here, but the guitar leads are razor sharp and the chorus is melodic despite its slightly anguishing feel. The guitar solo is a real shredding moment too, so I assume that is one of Gentry's - as Pearce does not usually let rip in quite the same way. If so, and Gentry sticks around, then future Voodoo Six albums could get back more to that clash of guitar styles that worked so well in the past - with Pearce's dirty blues and Jones' metal approach creating an exciting and dangerous combination. Last to Know opens with a string motif, before launching into a menacing, lumbering riff that sets the tone for the rest of the track. It is not the fastest track here, but the mid-paced sound has often been a touchstone of the band's style. In many ways this is another classic-sounding Voodoo Six song, with some of the Purdie-era once again present here. There is slightly less of the grungy heaviness that has characterised the band's more recent work - but the howls of Taylor-Stoakes ensure that the song still sounds at home on the album. His vocal style is perfect for this latest era of the band. He might lack the strange falsetto of Rundell or the southern grit of Purdie - but his distinctive voice suits the heaviness when needed, but also can work well in a more toned down fashion when the grunginess takes hold. Lost is more of a driving hard rocker, at least initially, with a riff that would have sounded at home on First Hit for Free. In fact, songs like I am the Sun and One More Day from that album seem like a bit of an inspiration here - with driving riffing mixing well with more low-key, bass-led verses to allow the band's classic clash of styles to hit home. I have always liked the way that Voodoo Six have been able to make different styles work so well together, and that ability is perhaps alive more so than ever on this album - with Lost being a great example of it, as well as being a throwback to their early days. Never Beyond Repair is the album's ballad. As much as I like Voodoo Six, I do not think that ballads have ever really been their strong point - with the exception of Mistaken from First Hit for Free, which I like a lot. Never Beyond Repair is a decent song, but for me the band are just not really set up for ballads. Their hard rocking songs are already quite mournful, so their ballads just sound like their regular songs but lacking the bite that makes them so good. It is perhaps telling that the best part of the song is a heavier mid-section, that sees Taylor-Stoakes laying down some throat-shredding vocals while the strings go haywire in the background. It is such a contrast to the song's main bulk that it almost sounds like a different tune altogether! It is a decent enough song, but it is almost certainly my least favourite cut here.
Brake gets back to doing what the band do best however, and it might include the best integration of guitar riffing and strings heard on the album yet. The song's main riff is a really killer moment, which is only enhanced by the dramatic and well-chosen string counter melody. I love how the sounds mesh together, and it makes the song sound absolutely huge. This is something that I would like to hear more from the band going forward. In fairness, the strings are already a big part of this album's sound - but this integration of guitars and strings is something that they could build on even further going forward. It makes the riff sound even more powerful when it kicks in following the song's murky, bass-led verse - making it one of the most dynamic-sounding songs here. I also love the turn the song takes about two-thirds of the way through; when a piano joins the fray for a slow-paced, mournful bridge before a fiery guitar solo takes over. Due to all that goes on throughout the song, it is easily one of my favourites here - and the sort of song that I would love to see the band focus on going forward. Control is a bit more back-to-basics in style following the dramatic and, dare I say it, progressive Brake; but the hard-hitting riffs and strutting Taylor-Stoakes vocal performance is all the more primal as a result. In many ways, it is another song that perfectly captures the modern Voodoo Six sound. The gnarly blues-based riffing is as potent as ever, while Newton's rumbling bass is given just enough presence in the mix to give the song some real weight. Newton's bass playing has always been such a big part of the Voodoo Six sound - which is unsurprising as Voodoo Six is his band and he has always been their main songwriter and producer. His playing and energy have always set the band apart from the pack for me, and songs like this showcase his style perfectly - but he always knows the value of a great guitar riff and solo, with both getting ample time to shine here. One Of Us brings the album to a close, and unsurprisingly it is another classic-sounding Voodoo Six rocker - although it is one of the most consistently heavy songs here. As described throughout this piece there is often a mix of styles in each track, with heavy riffing mixed with more low-key verses; but this song is barrelling hard rocker from start to finish - with an AC/DC-esque verse and an achingly heavy chorus with some more of the album's trademark strings. This helps the album to close on a high-energy note; and allows the band one last chance to really let their hair down. Voodoo Six might not be the most traditional sounding rock band, which is what makes them interesting, but when they want to go all out they do so in style. The lengthy guitar solo section here is particularly impressive, with Pearce and Gentry trading leads and licks in fine style, and it is the icing on the cake of what is another strong tune. Overall, Simulation Game is another very strong album from a band that I have been following since close to their original formation. As much as I enjoyed Make Way for the King, Simulation Game feels like a leaner and meaner version of it - with the Taylor-Stoakes era of the band going from strength to strength. There is a lot to enjoy here, and any rock fan who likes their harder-hitting music to be a little more quirky than usual should definitely check this out.
The album was released on 16th October 2020 via Explorer1 Music. Below is the band's promotional video for Liar and a Thief.
Tuesday, 3 November 2020
The Struts' 'Strange Days' - Album Review
It is always a bit of a shame when a band's studio output never quite lives up to their live shows. Many bands have fallen foul of this over years, but one of the most obvious recent examples are the British pop rockers The Struts. I became familiar with the band in 2014 when they played a tiny, long-gone venue in Plymouth called the Tiki Bar. There were probably about 30 people crammed into the bar's basement that night, but The Struts approached the show as if they were headlining Wembley Stadium. Frontman Luke Spiller, the modern equivalent of a Freddie Mercury or a Mick Jagger, strutted his way around the floor (there was no stage), while the rest of the band peeled out spiky pop rock hit after spiky pop rock hit. I was instantly a fan, but at this point the band had only released the Kiss This EP. Later that year, however, the band's debut album Everybody Wants (which I reviewed here) was released and unsurprisingly I snapped up a copy the day it came out. As much as it impressed me, and I have enjoyed listening to it over the years since, the songs on the album lacked the raw power that the band exuded on stage. Looking through the album's booklet revealed why, as the album looked to have been somewhat put together by committee. Only Spiller and guitarist Adam Slack featured on most of the songs, with numerous session musicians, co-writers, and an army of producers filling in all the blanks. As a fan of hard rock and metal, this is not something that I am used to seeing. We all know that a lot of Top 40-esque pop is put together by a number of fairly anonymous studio musicians and technicians, but rock and metal is supposed to be an anathema to that concept. Everybody Wants is still a very enjoyable album despite all of this, but it lacks the edge that the band are well known to possess. It took the band four years to follow up Everybody Wants, during which time they essentially ignored their homeland to relentlessly tour America, which I am sure was a sound business move, with YOUNG&DANGEROUS (which I also reviewed here) hitting the stores in 2018. Again, YOUNG&DANGEROUS is an enjoyable album - but it also suffered from the same over-production and 'too many cooks' syndrome as a debut. At least bassist Jed Elliott and drummer Gethin Davies were actually featured throughout the whole album this time around, but it still lacked bite. Given how long it took to get YOUNG&DANGEROUS out, I was certainly not expecting a new Struts album this year - but a surprise announcement a couple of months ago heralded the imminent arrival of album number three. Recorded in just 10 days back in April and May, Strange Days is easily the band's most complete album yet. It might not contain their best material overall, as I think there are better individual songs on their older albums, but - finally - this is The Struts without the committee and it is their most consistent and best-sounding as a result. The four band members, along with producer Jon Levine, essentially hunkered down in the studio for just under two weeks to write and record the 10 songs featured here. There is no army of studio professionals credited this time around, so this is The Struts at their most honest. As a result, this feels like 'their' album - and they clearly had a lot of fun putting it together. So much so that a number of special guests - from Robbie Williams (Take That) to Joe Elliott (Def Leppard; Down 'n' Outz) - were roped in to add their unique magic to a few of the songs; with much of the album having a infectious 'jamming with friends' vibe as a result.
Perhaps deliberately and in defiance to the band's previous over-produced approach, Strange Days starts in a rather unconventional manner. Rather than kicking things off with a harder rocking number, the album's title track opens things up rather more slowly. The poppy, semi-ballad is very atypical for an album opener, but it actually works really well. The song features Williams duetting with Spiller throughout, with the two singers playing off each other perfectly. Spiller's breathier, more modern approach to pop singing mixes perfectly with Williams' richer tones; while gentle piano and subtle strings form a suitable backing for the duet. While the song does build and expand as it moves forward, it never really explodes in the way that would be expected. Davies' percussion does eventually morph into a full-blown drum pattern, while Slack's powerful guitar chords start to add weight by the time the second chords comes around. Despite this however, the song never really loses sight of its low-key beginnings. Multiple listens to the album have brought me around to the concept of opening what is essentially a rock album with a ballad - with Spiller and Williams easily the stars here with their excellent vocal performances. All Dressed Up (With Nowhere to Go) is certainly more of a rocker, with a great 1970s glam stomp present throughout. The song centres around a Slack guitar riff that sounds like something Slade or the Sweet forgot to use, and it is backed up with a hollow, staccato drum pattern that perfectly compliments the glitter. Despite Strange Days being a very enjoyable opener, All Dressed Up (With Nowhere to Go) is more what we have come to expect from The Struts. The arrangement here is very simple, with the glam rock aesthetic really shining through, especially via Spiller's sultry vocals. It might not have the driving energy of some of their previous songs, but it is a really infectious piece that refuses to leave your head. A cover of Kiss' Do You Love Me, which appeared on their 1976 release Destroyer, is up next. It is the first cover that the band have included on one of their full-length albums, but it is a fitting choice for a band who clearly take so much from the 1970s glam rock scene. While it is not one of my favourite Kiss tracks, it really works when forced through The Struts' filter. Spiller owns the song vocally, while Slack seems to relish the opportunity to sink his teeth into some trademark Ace Frehley leads. It is a very similar style of song to the previous number, allowing the band's core sound to really shine through after the gentle introduction.
The rock vibe continues on with I Hate How Much I Want You, which is probably my favourite track on the album - and it is probably the hardest that the band have ever rocked, at least on record. Joe Elliott is featured vocally here, his distinctive voice harmonising well with Spiller as well as providing the occasional lead. The two combine perfectly on the song's hooky chorus, which is based around Slack's roaring hard rock guitar riff - which is easily the heaviest thing that he has laid down in the studio with the band. Joe Elliott even brought his mate Phil Collen (Girl; Def Leppard; Manraze) along to add a quirky, distorted guitar solo to the track, which helps to elevate the piece further. There is not much more to say about the song, as it is just a great old slab of 1970s/early 1980s-style hard rock that is packed with great hooks and attitude - which any rocker like me will appreciate. Wild Child is similar, but with a fuzzy sound that is furthered by the addition of Tom Morello (Rage Against the Machine; Audioslave) providing some of his trademark riffing and guitar-based noise. While not as overtly rocking as the previous song, there is a really gritty energy that permeates throughout the piece. Jed Elliott's bass is prominent in the mix throughout, his snaking riffs really grounding the song, while Spiller presents his big rock star persona in classic fashion with some Jagger-esque vocal hooks and phrases. The Struts have never felt as vital and as hard rocking as they have on this track and I Hate How Much I Want You - and I would like to see more of this from them in the future. Cool returns to the more whimsical pop rock that the band are known for, with more snaking bass from Jed Elliott and some upbeat, chiming riffing from Slack - but with a bit of a twist. In many ways the song sounds like something of an expanded version of All Dressed Up (With Nowhere to Go). The foot-stomping rhythm is similar, but the arrangement is a little more complex this time around. The riffing is less in-your-face, which allows the guitar and bass to play off each other a little, while Spiller spits out the lyrics in a rather ad-hoc fashion - which gives the song a slightly chaotic vibe that works well. In some ways this song sounds like The Struts playing around with their established core sound and seeing just how far that they can push it, and the experimentation, for me at least, works well. Burn it Down is somewhat slower, with a rootsier feel that is not a sound that many would associate with the band. The song, to me, sometimes sounds like a modern take on the sounds of artists like Bob Seger and Tom Petty, with bluesy guitar work, off-set piano melodies, and a huskier vocal approach all coming together to recall that old heartland sound. The song is certainly pushed through a modern-sounding filter, and it does not sound out of place on the album, but it is a track that sees the band trying something new. It works well however, and Spiller does the huskier vocal thing surprisingly convincingly. The song could have sounded quite cheesy if the band had gotten it wrong, but for me it works - and I always like to see established bands trying new things.
Another Hit of Showmanship, co-written by and featuring Albert Hammond Jr. (The Strokes), is perhaps the best representation here of the band's core sound - particularly the overall sound featured on YOUNG&DANGEROUS. It is a fairly spiky piece of pop rock, with rumbling bass throughout and chiming guitar rhythms - but it is the vocal melodies that really make the song stick. Musically the song is fairly basic, but it is the charisma and vocal talents of Spiller that really make it shine. Each line that he sings is packed with hooks and melodies, with the chorus being an instant winner. There are certainly better songs here in my opinion, and it is very typical of what the band have been doing since the beginning, but on an album that takes some risks it is also nice to hear the band further refining the sound that got them where they are today. Can't Sleep is similar, with more of the groove of tracks like Cool injected back in. Between Another Hit of Showmanship and Can't Sleep, any new listener to the band would instantly get what they are about. Better songs in these styles exist on the band's previous albums, but the production used this time around makes them both shine and compete with anything the band have done previously. I cannot emphasise enough how much better the band sound on this album in comparison to the previous ones. The Struts need to have some dirt under their fingernails, and this album finally allows them to have it. Slack's guitar solo on the track is a perfect example of this, his squealing leads pouring out of the speakers - finally uninhibited by the assumed radio focus that was clearly forced on the band previously. The album comes to a close with the laid back and somewhat strange Am I Talking to the Champagne (Or Talking to You). It has something of a smoky lounge feel, with a bit of an occasional Tom Waites-esque groove, which then morphs into a quirky pop rocker with plenty of tasty guitar work and some soulful vocal harmonies courtesy of pop singer Nylo. Her voice is a perfect compliment to Spiller's heartfelt performance, and repeated listens only highlight her importance to the piece. There is room for some musical leg-stretching too, with Slack and session saxophonist Rachel Mazer trading leads and melodies throughout that only add to the song's overall jazzy vibe. This is another song, like Burn it Down, that sounds nothing like anything the band have ever done before - and it again it works well. It is a song that has really grown on me over repeated listens to the album - and it closes things out on a groovy high, with the saxophone and Spiller's vocals fading out into the darkness. Despite what seems on paper to be a really odd collection of songs, Strange Days works really well as a whole. It might not be as instantly-catchy as some of the band's previous albums, but this has become my favourite of their releases purely because of how it sounds. Nothing here sounds over-produced or endlessly tweaked within an inch of its life - and if both Everybody Wants and YOUNG&DANGEROUS had been recorded in a similar style to this one then they would have both been so much better - especially for a rock fan like me. It just feels like there was no pressure this time around, no label executive breathing down the band's neck, and that has allowed the band to be creative and deliver the goods on the own terms - a trend which I hope that they can continue going forward.
The album was released on 16th October 2020 via Interscope Records. Below is the band's promotional video for Strange Days.
Sunday, 1 November 2020
Blue Öyster Cult's 'The Symbol Remains' - Album Review
A few years ago, the likelihood of me covering a new Blue Öyster Cult album here would have been next to nothing. Despite being a casual fan of albums like 1976's Agents of Fortune and 1981's Fire of Unknown Origin, my knowledge of the New York band was very limited. They were one of those bands who I was more familiar with due to their influence and stature than with their music itself, and any attempt to branch out beyond the handful of their songs that I liked left me cold. I resigned myself to the fact that Blue Öyster Cult were just not really for me, and essentially gave up on trying any harder - content with the occasional spin of Fire of Unknown Origin to fill my sparse Blue Öyster Cult-related needs. I am not sure what changed this long-standing mindset of mine, but over the last two or three years I have really grown to love the band. I really do not know what finally clicked with me regarding their music, but before I knew it I had amassed as many of their albums as I could find and was devouring them extremely quickly. Suddenly, the band's quirky, schizophrenic sound was hugely appealing - and they have probably been one of my most-listened to bands of the past few years. A show at London's legendary Hammersmith Apollo last year was what really sealed the deal however. Even though by the time the gig rolled around I was a convert to the band's sound, seeing them live really cemented my fandom. The band's current line-up, spearheaded by original members Eric Bloom and Donald 'Buck Dharma' Roeser, charged their way through a lengthy set in one of the country's best-love rock venues - and my love for the band has only continued to grow since that show. A new album to digest was the natural next step in my Blue Öyster Cult adventure, but until a few months ago that prospect seemed fairly remote. After all, it had been a long time since the band had last released a new album, with 2001's Curse of the Hidden Mirror being their last outing, but last year the band signed to Frontiers Records which resulted in a lot of great archive live albums being released, along with reissues of both 1998's Heaven Forbid and the aforementioned Curse of the Hidden Mirror - both of which were long out of print and original copies were hard to track down at sensible prices. The real jewel in the crown of the Frontiers Records signing however was the announcement that a new album was on the way - which finally materialised last month under the guise of The Symbol Remains. Despite the album being recorded recently, I get the impression that the band have been sitting on some of this material for a while and were waiting for the right opportunity to get it recorded and released. Demos of some of the songs had been released by Roeser previously, but that certainly did not detract from the excitement of the first new Blue Öyster Cult album in 19 years. It is great that the band's current, and mostly long-standing, line-up has finally got a chance to show what it can do in the studio - and two of the current line-up make their debut with the band in studio here. Multi-instrumentalist and songwriter Richie Castellano and drummer Jules Radino, who have been in the band since 2004, finally can see their names on a Blue Öyster Cult studio album now, while bassist Danny Miranda, who returned to the fold in 2017 after a few years away, contributes to this third original Blue Öyster Cult release.
At 14 songs in length, The Symbol Remains is a lot to digest. This means that the album takes a good few listens to fully appreciate, but the variety of the material here helps it to stay fresh. That diversity is apparent from the off, with the first three numbers (all of which have been released as singles), showing different sides of the band. That Was Me kicks things off with a great old-school heavy guitar riff that really recalls the band's first couple of albums. Blue Öyster Cult's early work is characterised by a raw, garage rock sound - and That Was Me personifies this. Bloom takes the lead vocally; his gruff, gravelly voice giving the song the kick it needs - while Roeser and Castellano join forces for the simple, barrelling riffs. Albert Bouchard, one of the band's founding members, adds some additional vocals and percussion to boost the sound, while Miranda and Radino lock together for the song's stomping rhythm. While the more progressive side of the band will be explored later in the album, That Was Me is a perfect kick off number that brings the energy early on; with a decent chorus thrown in for good measure. If That Was Me personified Blue Öyster Cult in the 1970s, then Box in My Head is the band in the 1980s. The song sounds like a Fire of Unknown Origin cast-off, with Roeser's thin, musical voice sounding as good as it ever has. Spacey synths fill all the space around the main shuffling guitar rhythm, with the whole aesthetic being something of a contrast to the opening number. There is a lack of heavy rock energy this time, but the quirky melodies that the band have become known for over the years are present in a big way. Roeser's songs often have a strange vibe, and Box in My Head is no different - but the hooks are still extremely memorable. In many ways the song is a quintessential Roeser composition, with laid back guitar leads and a smooth, AOR-esque chorus helping to keep things interesting. Tainted Blood is the best of the opening trio however, and it is the first of three songs here sung by Castellano. Various Blue Öyster Cult members have contributed lead vocals over the years, and Castellano has now joined these ranks - his somewhat more youthful voice contrasting with the established tones of Bloom and Roeser. The track, written by Bloom and Castellano, is a spooky semi-ballad, with low-key verses that explode into what is possibly the album's best chorus. The chorus has a very 1980s vibe to it, with layers of harmony vocals and catchy hooks, while horror-esque organ grinds away in the background to fit with the song's themes. With this track Castellano marks his contribution to the wider Blue Öyster Cult legacy. He has written or co-written a good number of the songs here, but this is easily my favourite of his efforts.
Nightmare Epiphany shines the spotlight back on Roeser, his musical voice driving what is a strange-sounding track, full of shuffle, groove, and boogie piano. There is a subtle energy here, with Radino's drum groove really snapping out the speakers, while Roeser's main guitar rhythms provide something of a counter to it - with occasional bursts of raw southern-esque guitar riffing changing the tone briefly. It is a strange song, but it instantly feels at home on the album. Roeser's song have often been some of the band's most 'out there', and the album's variety largely comes from his compositions. In many ways, it is Roeser that gives Blue Öyster Cult their trademark quirkiness, and Nightmare Ephiphany is another in a long line of strange songs that are packed full of sleeper melodies and strange grooves. Edge of the World, written by Castellano but sung by Bloom, is a bit weightier, but some of the spooky vibes that filled Tainted Blood return. The main guitar lead has something of a stadium rock quality to it, but this strident vibe is soon cast aside for a sparse verse that is packed with atmospheric keyboards that act as a great contrast to Bloom's rough delivery. In fact, this contrast is a big part of the song. Despite it seeming weightier than some of the material here, there is still a lot of the band's trademark atmosphere. Occasional heavier riffs and Bloom's voice clash with the melodic vocal harmonies provided by the rest of the band and the layers of keyboard form perfect hints of that classic Blue Öyster Cult sound - which makes it another strong cut on an album that is packed with them. Castellano takes the lead again for The Machine, a more straight ahead rock song with driving guitar riffs and a punchy drum pattern. His powerful, melodic voice really suits the song, while plenty of guitar leads are thrown in to create additional melodies. In many ways, the song feels like an old-school 1970s rocker that has been fed through modern production techniques. The riffing and guitar work is very classic-sounding, while the Hammond organ that is constantly roaring away in the background also evokes that era. The song is one of the simpler efforts here, but the melodies and the energy really help it to stand out. Train True (Lennie's Song), in contrast, is possibly the strangest song here however. Blue Öyster Cult have never gone full country before, but this song really goes for it in a big way - with a cheesy bluegrass chorus that sounds like nothing the band have ever done before . Radino's shuffling groove throughout allows the speedy country sound to hit home, while Roeser's vocals and snappy guitar work bring the song to life. When I first heard the song I was not sure at all what I thought of it, but is has certainly grown on me somewhat. I am not sure that country is a natural sound for Blue Öyster Cult, but it works well as a one-off; with a deliberately over-the-top sound coming off with something of a knowing nod and a wink.
The Return of St. Cecilia is more typical of the band's sound however, and it acts as something of a sequel to one of their very early songs - when they were still known as the Stalk-Forrest Group. It is Castellano's last lead vocal on the album, and it is possibly the most classic-sounding Blue Öyster Cult song of his three vocal contributions. There is a great, upbeat rhythm to the whole song, with driving piano and Hammond constantly filling any gaps left by the crunchy guitar rhythms, while a hooky chorus brings in some of the band's trademark vocal harmonies. It is one of the songs that really stood out to me on my first listen to the album, and it has remained a favourite thanks to its soaring melodies, energy, and plentiful lead guitar work. Stand and Fight feels like a cousin of That Was Me, a heavier track with raw guitar riffing and Bloom's gruff vocal delivery. Miranda's bass opens the song, and dominates throughout, while the guitars add chugging rhythms and droning chords over the top. It is probably the album's heaviest moment, with gang vocals filling the simple chorus while Bloom snarls his way through the lyrics. Both Heaven Forbid and Curse of the Hidden Mirror had some heavier moments, and this song sounds like a continuation of the sound forged on those albums. Much of this album is fairly whimsical or has more of a traditional rock sound, but this song borders on metal - and it is great to hear the band really going for it here. Florida Man instantly transports the listener back to Roeser's strange world however, with the atmospheric piece perfectly representing his core songwriting style over the years. The opening guitar line seems to deliberately reference (Don't Fear) The Reaper a little, with a discordant take on a similar pattern heralding what is to come, but this is a song that is characterised more by atmosphere than by any standout riff or melody. The chorus is so laid back that it might as well be horizontal, but the melodies contained within soon worm their way into your brain, while layers of keyboard help to enhance the gentle shuffle that is created by Radino and Miranda. It is another fairly odd song, but one that long-time Blue Öyster Cult fans will instantly latch on to. Another song that long-time fans will instantly love however is The Alchemist. It is possibly the biggest-sounding song here, and another great songwriting contribution from Castellano who has really made his mark on the album. Bloom sings the song; his expressive voice bringing the spooky lyrics to life. The song is based on the H.P. Lovecraft tale of the same name, and some of the lyrics are direct quotes from its pages. Topics like this are common fodder for the band, and Bloom's Alice Cooper-esque delivery is perfect for the theatrical, gothic nature of the piece. Ringing piano constantly adds another dimension to the song, but it is the guitars that give the tune its bulk - as Castellano and Roeser join forces for powerful riff after riff, before descending into an Iron Maiden-esque lead guitar trade-off that is easily the album's most explosive guitar moment. The song is a real album highlight, and will no doubt become a live favourite in the years to come.
The album's final three songs are probably the weakest cuts here, but they are still enjoyable. The amount of quality material here means that there is always likely to be a handful of numbers that do not reach the same heights, but it seems that they were all saved for the end here. Secret Road is another Roeser track, but it sounds very similar to Florida Man - so it ends up rolling into the previous song a little, especially as only one song separates them. The laid back grooves are present again, and the chorus even has a very similar melody. This is probably the only song that I would have cut from the album, as it sounds too similar to other numbers here, and the melodies just do not really stand up on their own. There's a Crime, written by Radino and New York music school owner Jeff Denny, is probably the best of the final three songs - with a great hard rock vibe forming the perfect bed for Bloom's final vocal on the album. It is certainly not the best track here, but the raw vibe again recalls those early Blue Öyster Cult albums and there is plenty of excellent lead guitar work throughout. The main riffs are raw and simple, but there are some excellent solos here that really bring the best out of Roeser and Castellano. The album comes to a close with Fight, another Roeser track that has a catchy hypnotic guitar running throughout. It might have been wiser to end the album on a heavier note, but Blue Öyster Cult have never been a band to do things the 'usual' way - and in some ways this strange, atmospheric piece works well as an album closer. It is certainly spiker than many of Roeser's contributions to the album, with some tasty riffing throughout, but it is still a trademark Roeser song in the sense that it is packed with layers of keyboard and strange melodies. It is another song that has grown on me a lot, and it could end up being another favourite in time. Overall however, and despite the quality dipping a little at the end, The Symbol Remains is a great comeback from Blue Öyster Cult - and one that deserves to get a lot of attention in the rock press. There are a handful of fantastic songs here, and most of the rest are extremely enjoyable too. There is a lot to digest here, but any fan of the band throughout the years is likely to instantly recognise the band's signature styles at work here. It is also an album that I feel I will only grow to love more over time, and it is quite likely to be one of my favourite releases of the year when it comes to writing my Top 10 Albums of the Year list at the end of December.
The album was released on 9th October 2020 via Frontiers Records. Below is the band's promotional video for That Was Me.
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