Tenacious D - Post-Apocalypto (2018)

The alleged greatest rock band in the world is back after a six year absence, and it seems like they have had quite an adventure during those six years. After all, why the hell would you release a record about your experiences of surviving a post apocalyptic world if you did not actually experience it. Maybe they blew it up a little too much, but then again, I am not American, so I have no idea what the USA was like after Trump got in the White House. I just have to trust the words of good old Jack Black and Kyle Gass.

So "Post-Apocalypto" takes the listener through a wild journey, which includes sex, nazis, sex, space, sex, time travel, and even more sex. Yes, just like with the predecessor "Rize of The Fenix", Tenacious D is once again going way too far with the sex jokes, losing all the impact that these jokes would normally have. I am starting to suspect if the band takes Viagra before going into the recording studio, because the whole first half of the record is just a bunch of loads, blow jobs, dicks, and va-jay-jays. I know I should not take these guys seriously, but come on, grow up a little bit at least.

Trust me though, the story becomes weirder after that, with the D fighting off against KKK members, Donald Jr., Jables Jr., and some weird ass monster called Daddy Ding Dong. Add a Terminator who fights with the D, and a three headed dog named Hope, and you got yourself a jumbled mess of WTF. The whole story is confusing as hell to follow, jumping from one happening to another like Jonathan Edwards takes three steps. The only way to make any sense of it all is if you go on to YouTube, and check out the mini series the band made, filling in the giant plot holes the album left us with, like why Hope started out with two heads but then later he has three, or what the hell a Yo-Yo Ma is.

So with the mini series, the story does make sense, and is admittedly pretty funny, but if you are gonna express this into album format as well, you just cannot leave so many plot holes in, or else the listener will be more lost than the people in Lost. Sure, I do admit that "The Pick of Destiny" had its own share of plot holes, but you could at the very least piece together the story there with some ease. That is something you cannot do with "Post-Apocalypto", there is just too much random shit happening.

Okay, I have talked enough about the story, but the only reason I have done so is that there is barely any music in here to begin with. There is way too many skits in this album, and whenever it finally gets to the music, the band just speeds it through, with no real song being over the 3 minute mark. The worst part is that the music is really good, classic Tenacious D rock that only they can do. The self titled track (and its reprise version) has that blazing "Master Exploder" feel that is so intoxicating, and the band manages to get some nice emotions in there too in "Fuck Yo-Yo Ma", "Hope" and "Making Love". Then we have two curve balls that are so wrong, but feels kind of right. First we have "marCH", an anthem for the KKK that claims that they like BBQs, but hate gays. In today's PC world, I am shocked that this exists, but it is kind of catchy, so..... nope, it is still wrong. Then we have a rap song in "JB Jr Rap", and the rapping is god damn awful, but in a funny way, and the beat itself is pretty sweet. Eh, it beats all the mumble rappers out there at least.

So all of this sums up into a 30 minute record, which is obviously way too short for a band that has had six years to make this record. "Post-Apocalypto" does have its moments of brilliance, but the fact that it is short as hell, have more holes than a Swiss cheese, is confusing as it can be, and that it feels like parts of it were done by a 10 year old makes this whole album a huge disappointment. I like the idea that they went for a concept record again, and the whole "End of the world" story is not bad, but it is presented really poorly unless you have watched the YouTube videos. JB, KG, I love you guys, but if a Terminator wielding a chainsaw-bazooka-machine-gun could not save this album, nothing could.

Songs worthy of recognition: Fuck Yo-Yo Ma, Post-Apocalypto Theme, Take Us Into Space

Rating: 4/10 Daddy Ding Dongs

www.tenaciousd.com/
twitter.com/RealTenaciousD

Helloween - Chameleon (1993)

So the previous Helloween album "Pink Bubbles Go Ape" might be weird, but I would argue that the band's 5th studio record entitled "Chameleon" is even weirder. Sure, the album cover does not have anything that matches a fish loving pinup girl, but what does this one say to you? It certainly does not scream power metal at least, and that is because this album is pretty far off from the high flying sound the band is known for. Instead, we get to hear a band that feels a little stuck in the 80's, despite this album being released in 1993. Oh lord have mercy on these pumpkins.

A possible reason to why "Chameleon" was so adventurous in its approach was the tensions within the band, which was so bad that both singer Michael Kiske and drummer Ingo Schwichtenberg got kicked out after the promotional tour. All of the songs were written by either Kiske, or one of the guitarists Michael Weikath and Roland Grapow, with no track having more than one writer. This leads to an album that is definitely diverse in its sound, but also extremely disjointed, going close to everywhere in the musical spectre, except for metal. We got rock, pop, prog, and even some country, but there is no sight of the sound that made the band so great in the first place.

So if you have not guessed it already, "Chameleon" is probably the most accesible Helloween album out there, feeling more like a collaboration between Bon Jovi and Guns N' Roses. So I did the only sensible thing, trying to get my mind straight, and judge this record from a blank slate, not thinking that it is Helloween who made it. Guess what, it does not work, it still sounds wrong, like no one band could make this on their own.

Still, I do think there is some good material in here, even if it is strange that it is Helloween performing these songs. "Revolution Now" and "Music" are two nice little pieces of progressive rock that the band handles surprisingly well, like a Queensrÿche light. Then we have the best of the 4 singles from this record, "Step Out of Hell", a steady and catchy rock tune that is easy to enjoy. The big favourite of mine though is "Crazy Cat", just because it is a fun and groovy song that show the funny side of the band, something I would have wished more from in this particular record. The saxophone in that track is a nice bonus as well. It is just a shame that these fine tracks are just a small part of this 1 hour and 11 minute record, which is obviously way too much to take in all at once. Some fat trimming would have done wonders here.

"Chameleon" is definitely deserving of its name, it shifts color here and there after the surrounding, but unlike the animal, this album just does not fit in. No matter how you see it, from whatever angle you may find, "Chameleon" is still kind of a mess, an album made by a group that is divided to their seams. It has its moments, but those are sparse, and it still does not really seem right. Not saying that Helloween cannot make an album that is not primarily power metal, but this particular effort is a no go in so many ways. It is a sad and strange ending to the Kiske era.

Songs worthy of recognition: Crazy Cat, Revolution Now, Step Out of Hell

Rating: 4,5/10 Giants

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Master of The Rings
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Slash - Living The Dream (2018)

With this Guns N' Roses reunion still going strong, it is easy to forget that Slash actually have a fully functioning solo project together with Alter Bridge singer Myles Kennedy and his Conspirators. The project was on a roll when they had to force a hiatus, gaining a respectable slew of fans and a steady flow of radio air time. Now that the guitarist with the sunglasses, nose ring, and top hat turns his focus back to make his fourth solo album, it might be that his old band is still on his mind.

Yes, I might be crazy in saying that "Living The Dream" might be the true follow up to the two "Use Your Illusion" albums that fans have been waiting for so long. Not to say that any of the three previous Slash records (or any other album from his Snakepit or Velvet Revolver) did not have a vein of Guns N' Roses in them, but this records feels a little more wild and raw than what we have previously heard from this constellation. Some songs like "My Antidote" have this attitude to it that is just so confident, which is certainly very reminiscent of good old GNR.

"Living The Dream" is otherwise not much of a surprise if you have followed Slash in recent years. It is catchy ass rock with a lot of sweet guitar riffs and licks all over the place, but not to the degree where it becomes full on guitar wanking, it stays just under the acceptable levels. Take a song like "Sugar Cane" for example, where Slash just cram in a lot of meaty guitar gymnastics in, but it never takes away from the other guys and their effort (especially Myles Kennedy, who is his usual magnificent self), therefore we get a groovy and catchy song that spices up the otherwise sluggish second half. The balance in this album is really on point, from start to finish.

Even if the slower songs on the records help balance it all out, those songs are still the weakest of the records. The main problem is that they are not memorable at all, you forget about them as soon as they are over, which is a big disadvantage in an album that is filled with catchy tracks like "The Call of The Wild" and "Mind Your Manners". Despite Myles' brilliant vocal performance, these songs are mostly luke warm, not adding too much to elevate. Yeah, so do not expect a new "Civil War" or "Don't Cry" in here, or else you will be disappointed.

Fortunately, we got enough rock power in here to last some time, all adding up to one of the more complete Slash records so far, giving "Apocalyptic Love" a true run for its money. This is through and through a really enjoyable record, showing a guy who is doing exactly what the album title says, just enjoying himself and pouring that enjoyment all over us in CD/LP/streaming format. I can't believe I am saying this, but this album has actually made me excited for a possible Guns N' Roses album in the future, because Slash is on a roll.

Songs worthy of recognition: Mind Your Manners, The Call of The Wild, My Antidote, Slow Grind

Rating: 8/10 Sugar Canes

www.slashonline.com/
twitter.com/slash

More reviews of Slash
World On Fire

Legend of The Seagullmen - S/T (2018)

Okay, it is time once again to play the age old game "Super group under microscope", in which we take a newly formed super group, take a look at who is in it, and where they originate from. So who is our next contestant? Well well, here we have a band that is called Legend of The Seagullmen, and its two men that stands out here, Tool drummer Danny Carey, and Mastodon guitarist Brent Hinds. Tool and Mastodon, that sounds like a heavenly fusion, and add an additional four scallywags into the mix, and you get a wacky group of land crabs creating some crazy music.

It would probably be wise of me to stop using sea lingo, but how could I resist when an album like this comes along. This is obviously a group that was created as a fun little side project, with no real serious intentions. Just a bunch of friends who comes together to make something completely different from what they normally do. So yes, unfortunately this does not resemble either Tool or Mastodon, but what "Legend of The Seagullmen" do resemble is a sort of alternative rock that do sound a little like Turbonegro, but without the speed. Or maybe I should just copy/paste what they wrote, "Legend of the Seagullmen is a genre destroying super-group crafting conceptual rock 'n' roll hymns of epic proportions.". Sounds about right.

So all these talented dudes ends up with a 8 track, 37 minutes long rock album that certainly has some interesting things to it. The whole atmosphere is really nice, very dirty and grim, but still with a lot of joy behind it, and that joy comes straight from the band members who obviously had a blast recording this album. Then we have the stories that this album is telling, and they are all nice little tales from the sea, together creating an image for the album that my not be the most original, but still fits really well with what the band is trying to accomplish.

While the album itself is not that big, it still holds some nice, juicy meat that we all can chew on for some time. Some nice punk grooves, some more mysterious bits, and a very salty aroma that pierces through your nostrils. It all leads to some really nice moments, like Hinds' sweet guitar play in "Shipswreck", the classic Black Sabbath melodies in "Rise of The Giant", the epic ending in "Ballad of The Deep Sea Diver", and the fast punk vibe in the song "Legend of The Seagullmen", that is on the album "Legend of The Seagullmen", played by Legend of The Seagullmen... Legend of The Seagullmen.

So all in all, this is a pretty harmless album that does not have that much to offer, but it does a good job in killing off some time. The music is nice, and the band seem to have a lot of fun together, but at the end of the day, this is just a side record that is probably not gonna be remembered down the stretch. I am not gonna criticize this album all to much, because I know it was just a bunch of friends coming together, making music, nothing more, but it does not do anything extra to make me go all wild and crazy. It is a fun little album, no more, no less, perfect for a trip to the seven seas.

Songs worthy of recognition: Legend of The Seagullmen, Rise of The Giant, Ballad of The Deep Sea Diver

Rating: 7/10 Foggers

theseagullmen.com/
twitter.com/the_seagullmen

Phil Campbell And The Bastard Sons - The Age of Absurdity (2018)

With Lemmy laying beneath the ground in peace and Motörhead being disbanded, it feels really strange to see both Phil Campbell and Mikkey Dee in any other musical project. It was definitely expected that they would take their talents elsewhere, but still, imagining them playing something different than "Ace of Spades" or "Overkill" is weird. Well, Mikkey has certainly not been lazy, quickly subbing in with Thin Lizzy on a tour and eventually becoming a permanent member of Scorpions. Phil has taken some more time to reflect his future career, but it is now finally time for him to unveil what he has been working on the last year or so.

Together with The Bastard Sons, Phil Campbell strikes us with "The Age of Absurdity", an album that more or less has nothing to do with Motörhead at all besides some very small bits here and there. This group sounds more like a hybrid of Mötley Crüe, Shinedown, The Offspring, and maybe some Aerosmith as well, it is a mix that do go together well enough, but it is not all that original. It actually comes out as a very standard modern rock band that any rock station would welcome with open arms, playing their singles frequently. I honestly did not expect much more beside of that, so I am not that disappointed, but something heavier would have been more welcome for sure.

Besides, the music is quite nice to listen to. It is easily likeable rock that may not have much substance to it, but it is some groovy shit, so you can definitely dig it. This band is sort of like Slash's solo project, with the backing band laying the foundation and our main guitarist adding that special touch. While I do think Phil does not take as much space as Slash does (honestly, can anybody do that?), he still has some shining moments in this album. He adds a punch to the music that is definitely much needed if any of the songs are going to stick with you. Songs like "High Rule" and "Welcome To Hell" are much more engaging thanks to Phil's nifty work.

How about the rest of the bastards? Well, I cannot say all too much unfortunately, because with such basic music as this, it is very hard to really stand out from the pack, but I do love however that Phil keeps his traditions within the family. 3/4 of the remaining members are all sons of Phil (Dane on drums, Tyla on guitar, and Todd on bass), with the only one being "adopted" is vocalist Neil Starr, making this band a real family business. It is great to see these guys get along for the sake of rock and roll.

As said though, it gets kind of predictable in the end with all of this decent rock songs. Some speedy ones, some heavy ones, some ballads, and even some blues and country to complete the picture, which certainly gives some nice variety to the album, but most of the tracks are just not strong enough to accentuate these differences, not giving this album the dynamic edge it could have needed. This is an album where it is just better to pick out the better tracks, and leave the rest in the dust, creating a nice little EP of material.

So "The Age of Absurdity" is not the most revolutionary thing out there, but it is a good little album of comfort rock. You can just put it on anytime, and get in a fairly good mood in a quick beat. There might be enough small crumbles of greatness in here that could lead to something spectacular in the future, and I just have to hope that they do take the same path as Slash's solo project, with a debut record that is uneven, but with a clearer understanding on what they want to do in future installments. Motörhead fans should absolutely take a listen, but do not expect Phil to carry Lemmy's torch with his new band. This could have definitely used some more absurd elements, but it works for what it is.

Songs worthy of recognition: Welcome To Hell, Gypsy Kiss, Step Into The Fire

Rating: 6/10 Ringleaders

www.philcampbell.net/
twitter.com/MotorheadPhil

Opeth - Damnation (2003)

5 months after the release of "Deliverance", Opeth unveiled the second half of their epic double trouble pack, the Yin that would match the Yang, the twin brother that came in second place out of the mother, the... you get the point. "Damnation" is the other half of the recordings from 2002, showing off the calmer side of the band. Gone are all the harsh vocals, the distorted guitars, and the aggressive beats, all that is left is an (close to fully) acoustic ensemble that plays 70's inspired rock. You could say this album was "Heritage" before "Heritage", exposing the common Opeth fan to something different, maybe even uncomfortable.

To make this album work as an Opeth release, everything has to be nailed perfectly, and it all starts with the production. Together with the band's main man Mikael Åkerfeldt, we got help from Steven Wilson, whom we all know from Porcupine Tree, his solo project, and a bunch of other bands. Steven is the perfect man for the job in my opinion, because since he also loves 70's prog rock, he knows how to make a compelling record that would also speak to the metal crowd. Mikael and Steven is certainly a match made in progressive heaven, a duo that could make some special magic happen.

And there is certainly magic in here, some smooth, mellow magic. The band goes seamlessly from song to song in its own tempo, taking their time to develop every melody into something great. While it is all rooted into the 70's, it still has that touch of modern Opeth that keeps it from being out of touch. It actually got a lot in common with "Morningrise", except for the obvious bits that we have already discussed about.

One thing that I think "Damnation" does better than "Deliverance" is featuring Mikael Åkerfeldt and his wonderful vocals, and I guess it could be because this music fits his clean vocals extremely well, but it is also because he gets much more room to work with here. With very minimal instrumentation in play, Mikael takes over and guides us through this journey, calmly leading us to a secure place. It is a comforting voice, one that you can trust in any weather.

But as you would expect from an album like this, it does get kind of boring after a while, since all of the songs have sort of the same tempo and mood. It is certainly a record that you could fall asleep to if you listen to it in the middle of the night. However, the boredom never becomes a chore, it is not like I want to skip any track and simply give up, it is more like "this part is not very exciting, but let us see what they can offer next". The hypnotizing vocals and the fine tuned guitar playing helps in keeping your concentration levels at reasonable heights, continuing to amaze with its delicate techniques.

So yeah, "Damnation" might not be the most exciting Opeth album out there, but it is still one with several good qualities, a different experience that works perfectly as the counter part of "Deliverance". It is easy to see that those two were recorded at the same time, and they certainly make a great double feature when listened to back to back. I do find this one as the superior album, because it tries new stuff, while still having that Opeth style that we all know and love. It is a special little album that stands out in the discography, and while it still has some way up towards the highest of levels, it sits nicely as a pleasant break from the madness. Simply marvelous.

Songs worthy of recognition: Death Whispered A Lullaby, In My Time of Need, To Rid The Disease

Rating: 7,5/10 Windowpanes

www.opeth.com/
twitter.com/officialopeth

More reviews of Opeth
Orchid
Morningrise
My Arms, Your Hearse
Still Life
Blackwater Park
Deliverance
Ghost Reveries
Watershed
Heritage
Pale Communion
Sorceress

Keldian - Darkness And Light (2017)

The Norweigan duo Keldian blew me away like a supernova in 2013 with the record "Outbound", an album that quickly became one of my favourites of the year with its infectious and nostalgic power metal that had a clear sci-fi theme going with it. But this band is more than a single genre can explain. The love child of Arild Aardalen and Christer Andresen taps in to a lot of 80's rock, as well as that decade's synth movement. It is a strange combo, but when all comes together, it becomes a very uplifting experience.

So "Darkness And Light" is their fourth release, and it is not too far off from their previous efforts, it is unmistakeably Keldian in this album. The way that they can take such simple components and still make such compelling music is just astounding, it never gets tired or stale. You will never hear this band steer out into complex solos or perform any impressive drum fills, it is basic music at its finest.

With that said, "Darkness And Light" might be one of the more underwhelming albums of the band's discography. Do not get me wrong, this is an enjoyable album, but I do not feel like the magic that their previous releases had is here. It is hard to pin point why, but it might be that they rely a little too much on the 80's sound here, and that the space vibe does not get enough room to shine. There are several parts of the album that just feels too nostalgic, too dated to be released in this millennium, and that is normally a line they have balanced pretty well, but does not do that quite as well this time around.

There are also some songs in here that just feels off, not coming out as bright stars. The giant epic in the middle, the close to 13 minute long "I'm The Last of Us", has some neat ideas, but it is just way too long for its own good. I love long songs, but they have to have a purpose to be long, and I do not see any reasons for this track to be this long. Then we have both "Broadside!" and "The Haunting", two songs that are just drenched in 80's AOR goop, and it just becomes too much for me to handle. Maybe my mother will like this tracks, she absolutely loves 80's music.

Still, we do get several fantastic moments and songs that makes the album worth its staying. The typical ultra catchy, single worthy tracks are here, like the ultra epic "Life And Death Under Strange New Suns" and the very joyful opener "Nightfall". Both are easily likeable and very addictive sing along songs that gets you going. And then we have "Crown of Starlight" that is just pure magic in a bottle, relying on simple, but effective, riffing, together with a steadfast tempo that keeps the blood of the song pumping to a scream worthy chorus that keeps going on and on in the end. It ends the album in a fantastic way, leaving you with an ear to ear grin on your face.

So while "Darkness And Light" has its share of problems, and it could even be considered the weakest album Keldian has put out to this date, it is still a very enjoyable experience that fans of the band are gonna love. The usual Keldian magic is here, and they have not lost their ability to create something magnificent and epic from simple ingredients. This album has some dark moments, and some light moments, but it is still Keldian, it is sci-fi music that Starlord should be considering when he creates his third "Awesome mix", just in time for that infinity war.

Songs worthy of recognition: Crown of Starlight, Blood Red Dawn, Life And Death Under Strange New Suns, Change The World

Rating: 7,5/10 Nightfalls

www.keldian.com/
www.facebook.com/Keldian-133028643515879/

Deep Purple - inFinite

Another year, another record by the Canadian madman Devin Townsend and his DTP. Man, you just gonna love that man's endless work ethic to give the listener high quality metal in a very... what's that... you tell me this isn't a new DTP album? But... the logo is on the cover... who could it else be? Deep Purple! WTF!

Okay, let just look past the obvious copyright infringement, and instead look at what is most likely the last full length effort we will ever get from the rock legends. In almost 50 years, Deep Purple has spoiled us with some fantastic rock and released some truly unforgettable albums like "In Rock" and "Machine Head". And while I am more into the heavier stuff, I still have a lot of respect for the band, and do listen to them from time to time. I can always turn on a "Space Truckin'", "Burn", or "Highway Star", it never fails to give me a smile.

So expecting their 20th full length effort to be among that level of quality is more or less out of the question, I am just glad that we are being treated to a nice record that is worth the four year wait since the last one (2013's "Now What?!"). I would not say that "inFinite" sounds fresh or anything like that, but there is something that the band does to make this old school rock album feel at home here in 2017. Could be the production, or it could be that this music is simply timeless, it is all in the eyes of the beholder.

While my knowledge of the Deep Purple discography is far from brilliant, I can definitely sense that "inFinite" ties it all together neatly in a goody bag, mixing a lot of the styles that we have heard from the band in previous years. As usual though, there are two key components to the music, singer Ian Gillan and keyboardist Don Airey. There are few bands that incorporate the keyboards as well as this band, and it really shows here, they are loud and proud, driving the songs more than the guitars. Then we have Gillan, whom utilize his vocals with great precision, giving the songs a lot of soul and warmth. Of course, Paice, Glover and Morse got their little moments too, but they are sparse and not all too significant to this record.

It is a little shame though that the song quality is rather uneven, keeping the album from being in any type of stable condition. I would not say that any song is bad in any sense, but a lot of them are unnecessary. "Get Me Outta Here" are some weird big band version of Queensrÿche that just does not sit well (especially since Gillan sounds a little bit like Geoff Tate), and "Johnny's Band" is definitely some cheesy country disguised as a rock song. The most worthless song here must still be the last one, a cover of The Doors song "Roadhouse Blues", which is not only really boring, but it makes no sense to why Deep Purple would put it in the album. It just takes space, that's it.

But there is still some quality to be had on "inFinite", from the funky "Hip Boots", the groovy "All I Got Is You", and the proggy "Birds of Prey", this album has some neat variety to offer. So even if this ends up being the Brits last album or not, it is still a nice record at the end stage of the band's career. It is not trying to be an alpha dog in the discography, it just wants to do a good job and get a treat from time to time. It got its moments, displaying that Deep Purple still got some strength left. Anyway, thanks to nearly 5 decades of rock service, and good luck on your final big tour.

Songs worthy of recognition: All I Got Is You, The Surprising, Birds of Prey

Rating: 7/10 Nights in Vegas

www.deep-purple.com/
twitter.com/_DeepPurple

Steve Vai - Modern Primitive (2016)

It has been over 25 years since guitar virtuoso Steve Vai released his real breakthrough album "Passion And Warfare", a magnificent record that holds some to the greatest instrumental pieces out there, like "For The Love of God". It is the center piece of Steve Vai's career, so of course, he had to celebrate it, and he does so with a remaster, and a new album. "Modern Primitive" is the first out of two CDs for the 25th anniversary edition of "Passion And Warfare", and consist of of old songs that Vai wrote during the time between his debut "Flex-able" and "Passion And Warfare".

Anyway, "Modern Primitive" has been described as the missing link between Vai's two first album (or as he calls it, Cro-Magnon Vai), and it is something that is pretty noticeable when you glance at the artwork. There he is, showing off his cleavage again, and I just can't stop drooling. Just look at that handsome bastard, pure eye candy.

Enough of the album cover (for now), let us focus on the music. To no surprise at all, this does sound like old school Vai, which of course delights me. While Vai might not be as much in the front as in "Passion And Warfare", he still runs the show with an iron grip, delivering sweeping riffs and mesmerizing solos here and there. The groove in "Dark Matter" and the Dream Theater technicality of "Fast Note People" are some of the tastiest bits from him, but this is not a fully instrumental album, and the songs that have vocals on them breaks things up really nicely, like the catchy "Mighty Messengers". I do think that Steve is at his best when he  lets loose, but this works quite well too.

But somewhere, in the middle of this jungle, I hear a familiar voice, a voice that makes me excited like a giggling school girl. It is the voice of Devin Townsend, whom sings in "The Lost Chord". This is not surprising by any means, since Devin started out his musical career as a vocalist for Steve Vai between 1992 and 1994, giving him an appearance on "Sex & Religion". Devin's addition to this track is just marvelous, his smooth vocals takes me back to one of his albums, more specifically the earthly "Terria". Add some emotional guitars, and you got a killer track. This is a combo I wanna see more of, can't these good friends create a new project of some sort please, that would be sweet.

A interesting thing about the album is that it has such a weird start and finish, for two solely different reasons. The album starts with "Bop!", a really quirky track that is like a mash up of Seinfeld and Monty Python. It will make you go "What the fuck am I listening to?", but it will also make you laugh, so it is a very fun way to start things off. Unfortunately, I cannot say the same to "Pink And Blows Over", the end song(s) of the album. It is split into three parts, and they all are slow and boring. I get that he want to wind the album down in the end, but this is the wrong way to do it. All of the three parts adds to a total of 19 minutes, part 2 alone being 13 minutes long, which is just excruciating. If he would have left this out completely, we still would have had 50+ minutes of music, which would have been fine. Thank god that this is at the very end of the album.

For being an album that is made out of almost 30 year old songs, "Modern Primitive" sounds really fresh and uplifting, an album that seems time less. It is obvious that Steve was on fire during the late 80's, and I am so glad that we got to hear more of the material that eventually led to one of the mightiest fully instrumental albums out there. While it may not be the strongest effort from Mr. Vai, it is still a record that provides a lot of enjoyable moments and several songs of great quality. An excellent work from one of the finest guitar players out there.

Songs worthy of recognition: The Lost Chord, Dark Matters, Mighty Messengers, Lights Are On

Rating: 7,5/10 Bops!

Judas Priest - Rocka Rolla (1974)

We all know that Black Sabbath are the grand fathers of heavy metal and the band that more or less invented the genre, but it was another Birmingham band that was the first to actually call themselves a heavy metal band. Judas Priest was formed in 1970 by guitarist K. K. Downing, bassist Ian "Skull" Hill and drummer John Ellis. They later added vocalist Al Atkins to the line-up, who's previous band was called Judas Priest, a name that the new group decided to take. This line-up however did not last very long because of several reasons, so both Atkins and Ellis left, and after a couple of short lived replacements (Alan Moore and Chris Campbell), the band finally found solid ground in David Hinch and Rob Halford. After another couple of years touring, the band added Glenn Tipton to the line-up, and got ready to release their debut album, entitled "Rocka Rolla".

This album did not create any big buzz when released, and even if Judas Priest is now considered one of the biggest and most influential bands in the history of metal, it still gets little to no recognition. Sure, the band has released several better albums over the 4 decades they have been around, but I always wondered why this album was often over looked. After several listening session, I see clearly why it has been so.

For a young fella like me, Judas Priest would not be the first band that would come to my mind when listening to "Rocka Rolla". During the time, it seems like the band was still in a phase of self exploration, because "Rocka Rolla" is sort of a mix between the progressive melodies of Led Zeppelin and the darker riffs of Black Sabbath. Hell, even Rob Halford is trying to find his inner Metal God in this album, performing a more softer version of himself here (although he does lay out some soaring screams throughout the album, indicating what was coming in the future).

If things would have gone a little different in the recording process, "Rocka Rolla" could have been a completely different album. The production is sub par, with the reason for it being technical issues in the studio. Also, the producer of the album, Rodger Bain, rejected several songs for this album, including "Tyrant", "Epitaph", "Ripper", and a early version of "Victim of Changes" (all these songs eventually made it into the following album, "Sad Wings of Destiny". Bain may be famous for producing the first three albums by Black Sabbath, but he did sort of drop the ball on "Rocka Rolla". Bain also had to cut down the song "Caviar And Meths" from its original 14 minute length, to a measly 2. Unfortunately, there is no recording of the original song, but Al Atkins did include it in his 1998 album "Victim of Changes" in a 7 minute form.

Looking past the production, there are a couple of songs that are pretty decent, even if they are no where near the band's best material. The title track has a nice groove to it, much like the one Kiss could create in their glory days. The guitars in it are also well crafted, reminiscing of ZZ Top's sweet blues rock. "Never Satisfied" is another nice little piece, one that could have easily been in one of Black Sabbath's early records, but the mesmerizing dual guitar of Downing and Tipton gives the song its own touch, and fortunately for us, this would not the last time we would hear these two guys make sweet music together.

Besides from those two, the rest of the songs in "Rocka Rolla" are either too slow or too muddy to fully enjoy them. It is painfully obvious that the production hurts the album in any way possible, and it does not help that some of the better songs was rejected for this album just because they did not have enough commercial attraction. Still, "Rocka Rolla" is a rough work that should be appreciated, not because of the quality in it, but as the start for one of the best, and one of the first, heavy metal groups of all time. Rocka Rolla all night long.

Songs worthy of recognition: Rocka Rolla, Never Satisfied, Run of The Mill

Rating: 5,5/10 Cheaters

www.judaspriest.com/
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More reviews of Judas Priest
Sad Wings of Destiny
Sin After Sin
Stained Class
Killing Machine
British Steel
Point of Entry
Screaming For Vengeance
Defenders of The Faith
Turbo
Ram It Down
Painkiller
Jugulator
Demolition
Angel of Retribution
Nostradamus
Redeemer of Souls

Firepower

Muse - Drones (2015)

After some weird experimenting in both "The Resistance" and "The 2nd Law", the English rockers in Muse has now gone back to what made them a big name in the first place, a more direct rock sound that focuses more on simplistic, groovy beats than complex, electronic vibes. It is a decision I welcome with open arms since most of the band's best material was simple, but very effective, captivating the listener with Matt Bellamy's entrancing voice and spaced out guitar playing.

The new album is called "Drones", it is the band's seventh full length effort, and it is actually a concept album, following the journey of the protagonist who loses hope, and eventually becomes this sort of human drone, only to later revolt and take down his enemies. I had quite some trouble understanding the full concept and its meaning at first, but the more research I did, the clearer the picture became. It is an interesting concept indeed, even if the lyrics itself are far from convincing.

Musically, it stands clear that the band is back where they belong. "Drones" reminds me quite well of the band during the period of where they released their two most memorable pieces to date, "Absolution" in 2003 and "Black Holes And Revelations" in 2006. It is strong stadium rock where the whole image is the main factor to make it as good as possible. It is unmistakeably Muse you are listening to, no question about that.

Even if I highly enjoy that the band is back to their roots, doing what they do best, I feel like the song material on "Drones" are a little watered out. The whole arrangement is not as crisp as I would have wanted it to be, with the music swinging from good to mediocre in every turn. I especially miss some really catchy choruses to go together with the excellent musicianship, because several songs, like "The Handler" and "Defector", have a great core, but miss that memorability factor that made songs like "Knights of Cydonia" and "Hysteria" so god damn awesome.

There is still plenty of goodness for all Muse fans though, even if I think none of the songs here will become true classics, but some might be fun, lasting live songs. "Mercy" is just a typical Muse song that would be so good live, while in the CD format, it feels kind of underwhelming. Still, a great song that stands out for all the good reasons. "Psycho" entertains the listener with a groovy riff and a beat that is a lot like the one in "Uprising", with it being a straight out copy, while the 10 minute epic "The Globalist" shows off all of Muse's tricks, from intense riffing to calm melody lines a la "Bohemian Rhapsody". I personally find most of the unmentioned material fairly dull, but I think that some of you guys would appreciate them more than me.

So after their weird phase, it is good to have Muse back where they belong. "Drones" may not be a instant classic, being a plain narrated concept album, but it should easily win back the hearts of the fans that did not care much for the band's two latest releases. It is still straight forward rock and roll with some psychedelic elements mixed into it, so I am still happy about this record. Not their best, but still a good enjoyable album.

Songs worthy of recognition: Mercy, Psycho, The Handler

Rating: 7/10 Drill Sergeants

Danko Jones - Fire Music (2015)

The Canadian trio Danko Jones have entertained us for almost 20 years with their easily melted rock and roll. With clean riffs and sing along friendly melodies, the band has become one of the more common sights in the mainstream rock radio scene, which is the main reason to why the band have become so popular. Whenever I party with my friends, I can be sure to hear "Had Enough" and "Just A Beautiful Day" sometime during the evening. So when the band releases a new album, I try to picture myself at some shabby apartment in the middle of the Saturday night, feeling buzzed after a couple of beers, just to get in the right mood.

There is really no surprise that Danko Jones's music works so well with the party atmosphere, something that "Fire Music" demonstrates very well. Not only are there songs about partying, doing drugs and joining bar fights, but the music is so intoxicating that it makes everyone happy. So what is it with this music that makes it so groovy? It is mostly the clean riffs and the shear drive that drives the listener crazy, but that would have not been possible without the main man Danko's passion and power. His unique voice and drive gives the album at least two more dimensions than what it would have without him.

Some songs in "Fire Music" do have the potential to become new fan favourites, like the dangerous "Piranha", the groovy "The Twisting Knife", and the rocking "Do You Wanna Rock". And even if "Fire Music" is a fine stand alone piece in the Danko Jones discography, it is obvious that the band has just refined already used methods. You can definitely hear that "Body Bags" have borrowed some traits from "Had Enough", but it does not make the song any worse, it just shows that the band has found a sound that fits them like a glove.

The band does show a good amount of variation in this album, which is directly necessary to not make the band a one trick pony. Unfortunately, most of these other tricks are either weird or just not really fitting the band that well. The bluesy ballad "I Will Break Your Heart" makes me sleepy while the hill billy tune "Watch You Slide" is only fitting in some Starsky and Hutch car chase (still a fun song though). Then we have "Getting Into Drugs" which just blows my mind. The lyrics makes me confused over if it is for or against drugs and Danko himself sounds like Jack Black. It still does have its charm and a small hint of comedy ("Don't care who likes it 'cause I'm 10 feet tall/I wanna save the world and fuck in toilet stalls"), but it is just too weird of a song. I bet they were on drugs when writing it.

"Fire Music" is another fine album by the Canadians, but something in me says that the band can, and will not do anything more than this. They are happy with the kind of quality they are holding up with and have no idea to really go for that perfect score. They are skilled, so they might do a perfect album some time in the future, but it will not happen if they continue to put out albums like this one. Fortunately, they are a hell of a live band, and I am sure the fans will appreciate the songs from this album that will fit into their set list in their upcoming tour, and also in some before and after party in some shabby big city apartment, playing from a computer.

Songs worthy of recognition: Do You Wanna Rock, The Twisting Knife, She Ain't Coming Home

Rating: 7,5/10 Piranhas

6:33 - Deadly Scenes (2015)

Out of all the weird band names I have encountered during my life time, this one might take the prize. I mean, who names their band after a bunch of numbers one see on a digital watch? Well, these Frenchmen did it, and they have now released their third full length album entitled "Deadly Scenes".

Just like their weird band name, the sound of 6:33 is... well, weird. It is a vast mix of Devin Townsend, jazz, Tim Burton movie music, and a whole bunch of other bands and styles that I cannot comprehend. It is definitely a unique sound that lives on chaos and confusion, but some how it feels so well thought out that it makes perfect sense, making it very interesting listening to it. But the real treat with 6:33 is the shear joy that surrounds everything. The infectious groove in the music is unstoppable, forcing all of your bones to rattle until you cannot sit quietly in your chair. It is a disease that you do not mind having.

All of this insanity is also mixed with a good dose of comedy, whether it is in the silly sound, a pun in "The Walking Fed" or some inappropriate children stories, you can be sure that these guys will try to give you a good laugh or two. And as I have said before, it feels good that there are some people in the metal world that has a sense of humour and shows it through their music, so it does not become dead serious all the time.

As a big fan of Devin Townsend, I off course get attracted to those songs that have most of the influences from the Canadian mad man. "Lazy Boy" has a peculiar mix of ambient music and space like licks that is both beautiful and mesmerizing. The jazzy groove in "Ego Fandango" is incredibly catchy and silly, and it has a sweet drive that not even a semi bad rap part can destroy. It is like the took the Devin song "Bad Devil" and just remodeled it. And then we have "I'm A Nerd", a song title that more or less speaks for itself with its silly, but yet confident sound.

The biggest accomplishment I think 6:33 pulled off in "Deadly Scenes" is the enormous variation in the album. During the entire album, you will never have a clue to what will hit you next. To do that, and still contain a huge catchiness factor is very impressive. Hell, they even have variation when it comes to their stage names. We have Rorschach, Dietrisch Von Schtrudle, S.A.D, and the guy with the very funny name, Niko. And for those wondering, yes, they also have masks when performing, which of course would scare a lot of listeners, thinking the band is too silly for their own good. My thought is, as long as the band is performing well and write good music, they can do whatever they want with their image. It certainly does affect them to a certain extent, but the music should not suffer because of it.

This album could end up as one of the bigger surprises this year, because I did not see before me that I would enjoy such a odd album, but whatever 6:33 is doing, they are doing a hell of a nice job. The controlled chaos in "Deadly Scenes" is weird, but also very intriguing, giving you a urge to want more of it. The infectious grooves and wacky influences blend well together, creating a highly memorable album. If you are going to get out of your own comfort zone and listen to something crazy just once this year, please let this album be you choice. You can thank me afterwards.

Songs worthy of recognition: Ego Fandango, I'm A Nerd, Lazy Boy

Rating: 7,5/10 Black Widows

Thomas Giles - Modern Noise (2014)

After the release of a fantastic concept EP + album and some immense touring, the singer and keyboard player of Between The Buried And Me is once again ready to present a album in his solo project. "Modern Noise" is the second solo album made by Thomas "Tommy" Giles Rogers, a album I have looked forward to since I am a huge fan of BTBAM. And even if Rogers does not have a perfect vocal range, I still respect him as a musician and as a song writer.

The fans of BTBAM should recognize the music in "Modern Noise" since it has clear similarities with the band. The only thing that makes Thomas's solo work any different from his work in BTBAM is the lack of metal. There is no growling, no complex rhythms and no pure metal sound in "Modern Noise. Instead, it is the more jazz influented side of BTBAM that is present in this album, which really does not surprise me. I think it is nice that Thomas expands this side of the band since it is only a small part of their overall sound.

But just because there are more jazz influences in here, it does not mean that it is a jazz album. "Modern Noise" is more of a heavier, progressive indie rock album that may not speak to some of the BTBAM fans, while others might enjoy it. Besides fom the weirdly named "Lkcvjvhljbvj≥˜∆˚nnnjmkjijm", there is no track that really stands out as a strong piece. Most of the material here are decent and enjoyable, but there is nothing groundbreaking nor overly impressive. It is just solid music.

A few songs do catch my interest a little better than others. "Siphon The Bad Blood" has a solid beat and some great guitar work. It is without a doubt the catchiest song in the album. The best chorus goes to the one in "M3", a groovy, fast paced song where Thomas is on his toes with his voice. And for the the true BTBAM fans I would recommend "I Appear Disappear" and the title track with their interesting structure and space like feel. Two songs with some slight modification would have been a good fit as a bonus track in "The Parallax II: Future Sequence".

As a huge Between The Buried And Me fan, it is a relief that I find Tommy Giles Rogers's new solo album to be enjoyable. Sure, I am not a fan of jazz or fusion and I do miss some heaviness in the music, but Thomas has put in so much effort in this album that it becomes hard to not commend his work and devotion. The music is enjoyable and has enough references from his main band to make the fans pleased. A good solo album that unfortunately is not anywhere close to the quality his band has put out the last couple of years.

Songs worthy of recognition: M3, Siphon The Bad Blood, I Appear Disappear

Rating: 7/10 Blueberry Queens

Black Sabbath - Seventh Star (1986)

You might be thinking for yourself while gazing at the at the cover for "Seventh Star", "why does it say featuring Tony Iommi? Isn't he a member of the band?". Yes he is, in fact, he was the only original member left in the band around this time. "Seventh Star" was actually supposed to be Tony's first solo release, but thanks to the record company and band manager, it became a Black Sabbath album instead. The reason to that decision? Milking out more money out of the Black Sabbath name! Damn those money loving bastards.

To no ones surprise, that ultimately was a bad decision since the music in "Seventh Star" was way different from the normal Black Sabbath sound. This album is not metal, it is just 80's rock that more resemble Whitesnake and Deep Purple than Black Sabbath. Speaking of Deep Purple, former member of the band Glenn Hughes helped with the vocals on this album. Other players were Geoff Nicholls on keyboard, Dave Spitz on bass, Eric Singer on drums (Singer later became the drummer of KISS), and of course, Tony Iommi on guitar.

There are a couple of songs that are fine and could fit in with another Black Sabbath album. The title track is long and has an overall nice groove to it while "Danger Zone" works with its catchiness (despite the Van Halen riff), and "In For The Kill" does its job well and Iommi does his best performance here. A small shout out also to the excellent "Turn To Stone". With a little fine tuning here and there, all of those songs could easily fit in any other Sabbath record.

But now, we come to the rest of the pack, songs that I understand why Tony would release them in a solo record, but does not in any circumstance fit in a Black Sabbath one. The track that causes the most sickness for me is "No Stranger To Love". It is a typical 80's rock ballad that is more than likely to bore the crap out of you. Seriously, these kinds of songs were outdated even before they became popular. Then we have "Heart Like A Wheel", a blues song that is the longest track in this album. I can see if some fans of the band would enjoy this song, but I cannot. It has the same effect on me like a sleeping pill. The two final songs, "Angry Heart" and "In Memory", are just bland. They have more or less nothing that could change my mind over this album. A very disappointing ending to "Seventh Star".

I do not think my view on this album would have changed if "Seventh Star" was a solo record. I do understand that Tony wanted to test his musical writing beyond his band and that this album had potential of becoming something interesting outside of his normal sound. No, the blame for "Seventh Star" goes instead to Warner Bros. and Don Arden, who persuaded Tony of making this under the Black Sabbath name. If they really wanted the best for the band, they would know that this could not be a Black Sabbath album. I can only imagine all those fans who bought the album on release day and heard it. Oh, the disappointment.

Let this be a lesson to record companies, big and small. Don't do this to band that you have under a contract, ever. Got it? Probably not.

Songs worthy of recognition: Seventh Star, In For The Kill, Turn To Stone

Rating: 3,5/10 Danger Zones

Casualties of Cool - S/T (2014)

While we are waiting for the long awaited follow up album to "Ziltoid The Omniscient", the Canadian mad man Devin Townsend decided to take his music to another, more undiscovered, territory. During his career, he has experimented with punk, ambient, death metal and several other music forms, but this time, he is focusing on a country album entitled "Casualties of Cool", which he decided to release under a new project (with the same name as the album) instead of it being a DTP release. And it seems like people is hyped for this release since the pledge campaign that Devin launched to cover the costs of this recording reached over 500%.

Helping him with this record, we have the female vocalist Ché Aimee Dorval, which Devin fans might remember from the DTP album "Ki", drummer Morgan Ågren and a guest apperance by Jørgen Munkeby from Shining. He is emerging in the track "Moon" with some sexy saxophone beats, making it one of the more memorable songs in the album.

The album itself is a concept album, about a traveler in a sentient planet that feeds on fear, but with the help of an old radio and phonograph, he can confront his own fear, and thereby, freeing his own soul. It is an interesting story, but you really have to go deep into the lyrics to really understand it, which is both positive and negative. It is positive because it is not too obviously told, but it is negative since most of the listeners might not see a cohesive story in the album.

What matters though is how the music is working together with the lyrics and the story, and I have to say, it works nicely. The album is labeled as country rock, and I can definitely hear some country influences here and there, but I would probably label "Casualties of Cool" as a ambient album with hints of country and blues. It is definitely a album that can be compared to Devin's previous ambient efforts, such as "Ghost" and "The Hummer", but I would put this album at the top because it feels so mature and it is more versatile than the other albums. But is it a album that I would recommend Devin's metal fan base? I would suggest them to give it a try, but remind them that this is not a metal release. If you did not like "Ghost" or "The Hummer", then the chances are slim that you will enjoy this album.

There are not many songs that stands out in "Casualties of Cool", but the ones that does stand out does it in a good way. The saxophone in "Moon" gives the album a nice jazz touch, the beautiful "Flight" brings some atmosphere to the record, "Forgive Me" has a nice, smooth flow, "Deathscope" is a wild piece that could wake up them who sleeps through this album, and the longest song, "The Bridge", is an epic creation that would also fit nicely in "Epicloud". These songs makes "Casualties of Cool" a very nice album, but for it to be a great album, I would have like more stand out songs and fewer anonymous ones.

I am glad that Devin did not go full out with the country on the album, because I would have probably hated it. But the mix of ambient and country blues that "Casualties of Cool" gives us is an interesting and soft style that I can enjoy. I am still more hyped for the second Ziltoid record, but until then, "Casualties of Cool" will do a good job on meeting my, and anyone else's, need for new Devin Townsend music.

Songs worthy of recognition: The Bridge, Moon, Forgive Me

Rating: 7/10 Bones

The Rockford Heroes - Edge of The Silverthorn (2013)

Now I was not meant to do this review in the first place. Why? Well it is pretty easy, the Swedish quartet The Rockford Heroes have insisted to only release short EPs in a pretty high rate. But when the band discovered that the songs they made for an upcoming EP fitted well with the songs from "The White EP", they decided to create this album entitled "Edge of The Silverthorn". The Rockford Heroes consists of Jonas Arvidsson on guitar, Dan Hultstrand on vocals, Marcus Johansson on drums and Eric Carlsson on bass. The band makes mostly classic 80's hard rock but the band has great variation in both sound and influences. Or what do you say about Iron Maiden, System of A Down, Styx, My Chemical Romance and Edguy with many more.

"Edge of The Silverthorn" starts of with "No Reason To Believe", a song that simply screams 80's hard rock. With its vocal harmonies, screeching guitar and tinkling keyboard, this song is a perfect album opener and you can tell that the band has put a lot of hard work into the music. In the next song, "The Day of Return", the band is changing to a slightly faster pace and the guitar plays a heavier set of riffs but the song is still melodic and has a power created by the awesome vocal work.

A good 80's record would not be complete without the mandatory rock ballad and "Forever" is doing a good work to keep the tradition even though it is not as appealing as most of the songs on "Edge of The Silverthorn". But the band is doing a great job and makes the most out of this (and every) track.

After "Forever", the album changes to a more modern hard rock sound starting with "And There Was Temptation" that reminds me of a Edguy song. It is melodic and the speed is fast and nice. A song that show that the band is capable to master many different styles. And the variation continues with the symphonic and grand "Gold Encircles The Altar", the NWOBHM inspired "Capricious Arrows", the almost operatic "A Split Second Goodbye" and the hooky "The Fools Realm".

The variation is the clear strong point in "Edge of The Silverthorn" and unlike many other bands, The Rockford Heroes variation still has a solid ground to stand on. Without that ground the variation has a big risk to make the album very fragmented and unclear. But that is not a problem we get to experience in this album. The only real weak spot is that a couple of songs does not live up to their full potential but overall is "Edge of The Silverthorn" a very pleasant experience. The band is very tight and clearly knows what they are doing. "Edge of The Silverthorn" is the perfect album for those who wants to soar back to the 80's but still wants a little modern influence in the nostalgic sound. In other words, this album fits both for old and new hard rock fans.

Songs worthy of recognition: No Reason To Believe, And There Was Temptation, Capricious Arrows, The Fools Realm

Rating: 8,5/10 Days of Return

Website: www.therockfordheroes.com
Facebook: www.facebook.com/therockfordheroes

Geoff Tate - Kings & Thieves (2012)

So, Geoff Tate finally got kicked out of Queensrÿche. Well I could definetely see that coming. Even though Geoff is an extremely talented singer he was literally suffocating his former band these last years. Have you listened to their latest album ("Dedicated To Chaos")? If you have not then I highly recommend that you stay away from that album. "Dedicated To Chaos" is so dull and uninspiring that I wanted to kill myself. Well, now have Geoff released his second solo album (the first one was released in 2002 and was self titled). An album that will show in what direction Geoff will take from now on. Will he continue on what he started on "Dedicated To Chaos" or will he take on a completely different route to develope his music?

After one full listen of "Kings & Thieves" I started thinking. "Is it even worth listening to this album at least one more time?". "Kings & Thieves" has so many influences from "Dedicated To Chaos" that it just bugs the hell out of me. It is almost like they were identical twins. But there are a couple of things that makes "Kings & Thieves" superior to "Dedicated To Chaos". First off, the overall quality is a bit higher here and the consistency is better. Then I also think that "Kings & Thieves" has more guitar in the sound, something "Dedicated To Chaos" lacked a lot of. One thing that this album does not have  that "Dedicated To Chaos" had is a great song. Yes, one song on that album stood out and that song was "Retail Therapy". A great song that is catchy and groovy.

The only songs on "Kings & Thieves" that stands out is some of the more worse songs. One of these are "The Way I Roll". An complete embarrasment to the name Geoff Tate. Nothing more to say there. Other songs that you should stay away from is the boring and wailing "Tomorrow", the weird and awkward "Take A Bullet" and the completely empty "In The Dirt". There is actually only one song that is worthy a listen and that song is the opener of this album, "She Slipped Away". An acceptable groove whit a good chorus. Also like the keyboard on this song.

Well after listening to "Kings & Thieves" I can assure that Queensrÿche made a good decission on dropping their lead singer. He is good but the songs are not. So slow and sluggish that it actually encourages the listener to shoot himself. It is not as bad as "Dedicated To Chaos" but that does not mean that it is a good album. No it is horrible and it belongs in a thrash bin. So screw you Geoff. I am going home and I am not taking this album with me.

Songs worthy of Recognition: She Slipped Away

Rating: 3/10 Tomorrows

Muse - The 2nd Law (2012)

There is no doubt that Muse has become very popular during this 21st century. With songs like "Hysteria", "Stockholm Syndrome", "Knights of Cydonia" and "Uprising", Muse have become one of the biggest names in rock music. Hell, they have even been given the honor to write the official song for the 2012 olympics in London. In Speaking of, "Survival", as the official song for the olympics is called, is on this album and if I had to make any prediction of this album with only "Survival" as guide I would say this album would be in typical Muse standards. But you probably all know that one song doesn't make an album so let us take a look on what the rest of the album had to offer.

Now, we know that Muse have experimented with several music styles during their carrier. There is really nothing that can define as a typical Muse style. They can be aggresive, soft, mysterious and epic all at once. And they definetely show it of on "The 2nd Law". I don't think I have ever heard Muse this versatile in any of their previous five albums. We got ballads, power, pop, rock, mystery and even dubstep. Yes, I said dubstep. The band experiments with dubstep on "The 2nd Law: Unsustainable". It actually turned out decent but it is something I wouldn't expect the band to keep up in future material.

Even though I like the variation on "The 2nd Law", the performance is uneven. Some songs sound great and are right up Muse's alley but other songs like "Save Me" and "Explorers" are just big turn offs. I sometimes wish that Muse just chose one direction and stuck to it. But then again, that wouldn't really be Muse then.

So "The 2nd Law" has it's moments. But it also has it's down times. Muse still keeps on trucking like usual. Only this time they tried to explain the law for their music, which they failed with. I still cant find a clear red line that goes through their music and influences. Fortunately, it is not a bad thing.

Songs worthy of recognition: Follow Me, Survival, The 2nd Law: Unsustainable

Rating: 7/10 Liquid States.

Steve Harris - British Lion (2012)

It seems like Iron Maidens 2012 is the year for side-projects. First of was the guitarist, Adrian Smith, who teamed up with ex. SikTh singer Mikee goodman and formed Primal Rock Rebellion, a project that was intresting and successful with their debut Awoken Broken. So now has the turn come to the leader and basist of Iron Maiden. Several years ago, Steve Harris met a young group called British Lion (hence the title of this album). The band asked Steve if he could produce their debut album, which he agreed on since he liked their music. Unfortunately, the band split up shortly after. Now, almost twenty years later, has Steve teamed up with two former British Lion members (Graham Leslie on guitar and Richard Taylor on vocals) and also David Hawkins and Simon Dawson to make Steves first ever solo album/side-project album or what ever you want to call it.

Now I am not sure what to call the music style the album is presenting. Classic rock? no... progresive rock? na... smooth sailing rock? Maybe... it is the closest I can come up with. It is pretty obvious that Steve is trying to hold of from the typical Maiden sound as far as he can and i can't blame him. If I was to try a project outside my main band (if I know had any) I would try to take that "hey, it's that guy from [insert famous band name] and his new band" label away and throw it right in the nearest dumpster. At least to get the impossible expectations out of the way.

Even though my expectations for "British Lion" was pretty low I never thought that this album actually would be below them. The song material is not as strong as the songs Steve writes for the Maiden (which I already prepared myself for) but it's not the songs that is the problem. It's the singer I have a grudge against. Richard Taylors voice is clean but it is extremely weak. I sometimes wondered if he has made a vasectomy cause his voice doesn't contain so much testosterone as it should. Despite the weak singing, some songs actually fits with it. In songs like "A World Without Heaven" and "Karma Killer" Richard actually delivers which, of course, is a good thing.

As I said before, the songs are not of the highest standard but they are not that bad. The two previosly mentioned songs are intresting and has a totality that works. If Steve Harris makes more albums together with these lads I really hope that they go in the direction that those two songs are following. How is the other material then? Just one big meh. Nothing special or memorable but fortunately, nothing completely horrible.

So if you want to buy this album just because it got Iron Maidens basist as their band title I would suggest that you back off. "British Lion" will make you dissapointed. But if you are like me and are just curious of what he is doing besides The Irons then you may actually enjoy it. If you happens to like a more layed back kind of rock with a wimpy singer.

Songs worthy of recognition: Karma Killer, A World Without Heaven

Rating: 4,5/10 Lost Worlds