Life is a cabaret, old chums, with the scintillating Take Back The Night (Sumerian Records). A power-packed, credulity-stretching showcase of strong, strong pop-rock songwriting and arranging courtesy of Starbenders; this album is full of punky attitude and thrusting ambition.
Since the music of Baroness has been unlike any other band to me, and more akin to a spiritual experience since I first got into them in 2007, I set the mood for myself before listening. I turned the lights down low, cracked the window open to get a nice breeze going, and heard the sound of large late summer raindrops filling my ears. The city’s heartbeat in the deep background was the only other sound besides my breathing. I just stared at the new album artwork for five straight minutes. At peace for a change, in the still and calm of myself, and by chance, present in the city of my birth for a few days, I hit play on the promo and then let the first notes hit me.
Two band names, three studio albums, one EP, a live album, and a change of vocalists. A lot has happened in the last few years for Phil Campbell and the Bastard Sons. From beginning life as a side project for the former Motörhead guitarist, performing covers under the somewhat less than attention-grabbing moniker of Phil Campbell’s All Starr Band, the band announced a much-needed name change the following year and the improvement was both noticeable and immediate.
Swedish rockers Electric Boys had a bit of success in the late eighties and early nineties when their boisterous Funk Metal track “All Hips n’ Lips” caught the eye of MTV and their first two albums, Funk O Metal Carpet Ride and Groovus Maximus, caught the eye of the public. Things fizzled out in 1994 but they reunited fifteen years later and have been steadily releasing new material since.
Punchy album opener “Touch” sets the tone for She Burns Red self-released debut Out Of Darkness (Self-Released) – emotive Hard Rock with fiery riffs, impassioned vocals, and a strong alternative influence. The Scottish rockers first record comes three years after their EP Take Back Tomorrow, and it mixes Metal-style heaviness and grunge soul-bearing, with Foo Fighters’ hooks and Wildhearts pop-punk smarts.
CMFT2 (Decibel Cooper / BMG) is the second solo album from one of the largest mouths in Metal, a musician who you might have thought had all bases covered for his creative output by virtue of being the frontman in two wildly successful bands.
These days, it’s difficult to find Rock and Roll in its purest form, especially in an era where rock is not king. However, a wave of modern British Invasion bands have produced some acts that have reinvigorated the scene, most notably, Brighton-born rock duo, Royal Blood. Small but mighty, with an unconventional lineup, Royal Blood are fueled by the powerful pair Mike Kerr (vocals/bass) and Ben Thatcher (drums/vocals). Over the last decade-plus as a band, they have climbed the ranks with 3 albums: Royal Blood (2014), How Did We Get So Dark? (2017), Typhoons (2021), and now, they welcome their 4th studio album Back to the Water Below via Warner Music.
In October 2020 the world lost a true musical legend when iconic guitar icon Eddie Van Halen passed away, signalling the end of one of the all-time classic American Hard Rock bands. In the aftermath his son Wolfgang Van Halen, himself a touring bass player for his father’s band since the tender age of 15, released his first solo album as Mammoth WVH. The record was in many ways a heartfelt tribute to his father as highlighted on the songs ‘Distance’ and ‘Mr Ed,’ and had been in the works since Wolfgang had started recording in Eddie’s legendary 5150 studio way back in 2015.
Closing in on 30 years into their career, you couldn’t blame Sevendust if they took their foot off the gas at this stage. They have indicated as much that they are looking to tour less intensely as they have been, as the bands have families and are thinking of their futures. The band has slogged it out for decades on countless tours, metal festivals worldwide, and at times, more intimate unplugged gigs as well. While there are surely not a lot of new mountains to climb, it’s refreshing to see that the band is still hungry, and challenging themselves to create quality new songs on their 14th album Truth Killer. Following a successful run at Rise Records, the band has found a new home in Napalm Records, home to many of their peers and touring partners. The vibe at Napalm fits better than Rise did, as they head into this next phase of their career.
This band from Atlanta transcended the vest metal tag assigned to them early on, to become one of the most underrated new acts to coast under the radar of mainstream rock. The lengthy seven-year break since their last album did not help this, but Rebuilding The Mountain (Spinefarm Records) finds the band taking inventory of their demons before returning, reconfigured, with drummer Evan Diprima back in the fold.