Album Review: Living Dead Girl - Exorcism

Some bands are hard to peg, or they're hard to understand until you actually hear them. When a band like Living Dead Girl comes along, saying their music is an amalgam of goth-inspired metal and Avril Lavigne, it takes a moment or two to process exactly what that would mean. And then you throw in the fact the band is borrowing their name from one of Rob Zombie's big hits, and you wind up with quite the kaleidoscope of ideas being mixed together. As we saw with Poppy last year, it's not an easy feat to pull off, especially on a debut record.

Molly Rennick is more shrewd than some of the others who have been mixing metal and pop. Yes, that's mostly about Poppy, but not entirely. On this record, Living Dead Girl doesn't take bits of metal and pop and glue them together whether they fit or not. The integration of metal attitude, screams, and pop hooks is handled in a much more unified way. That not only makes it easier to pull out the thread of who the band is trying to be, but it also keeps the record from feeling like an experiment thrown together at the last minute.

To my ears, the record sounds like New Years Day's "Unbreakable", with the ends pulled further apart. These songs veer heavier in their more metallic moments, and Molly screams her way through many of the verses, which plays up the duality of the pop hooks. That decision is wise, not just for the dynamics at play, but because the songs need that bit of psychology to make their mark. Staying with that comparison, the pop hooks on this record aren't as mammoth as New Years Day had, but the huge shifts in tone give the impression they are.

For the most part, the album works as intended. It uses the bones of the metalcore formula, but with a youthful approach that updates it for the times. I don't know if any of those original bands would have wanted to combine hardcore with Babymetal, but there are hints of that throughout Living Dead Girl's music. I find out just how old I am during "Exorcism", where Molly's vocals sound as childlike as ever, and where the second half of the chorus sounds too much like a childish chant for me. That song will probably play well for the listeners in her own age bracket, but I certainly feel out of place listening to that one.

I made a comment as the last decade ended that music stopped being identifiable as of a certain time sometime around 2000. There were definite, unique sounds to the music that came from the 60s, 70s, 80s, and 90s, but not so much anymore. I feel like with a few more bands taking this approach, Living Dead Girl is still riding the front of a wave that could be one of the defining sounds of this decade in metal circles.

As for "Exorcism", it's a debut album that displays a lot of potential. The pieces to the puzzle are all here, and a lot of them have already been fit together. If there can be even further polishing of the pop aspects, Living Dead Girl will start crossing over and generating attention. This record is both more metal and more pop than Poppy. The only thing giving her more attention is a public battle about control and abuse with a collaborator. If the music was speaking for itself, Living Dead Girl would be the one fans of the style would be talking about.

My Favorite Jim Steinman One-Liners

I don't get the opportunity to talk about lyrics as much as I would like to. Part of that is simply due to how much music we have to listen to, and how it isn't possible to give a thorough examination to all the words contained therein (especially when I don't have access to written lyrics when reviewing something). That's not the whole of it, however. There is also the sad fact that much of the music that fits in the genres I write most about contain few, if any, memorable lyrics.

Often, I have heard both fans and artists alike talk about lyrics as if they don't matter. When Jim Steinman passed away recently, part of going back to his music was, for me, also revisiting all the lines in his songs that influenced the way I myself write. His songs were sarcastic and filled with interesting twists on conventional language, which absolutely helped push me into who I am.

In that spirit, here are some of my favorite lines from his songs, many of which I wish I had written myself:

"There are no lies on your body, so take off your dress/I just want to get at the truth"

From "Left In The Dark", this is my favorite Steinman lyric, and a quintessential illustration of his work. Both poetic and horny, the lines are able to sound touching and innocent while at the same time embodying animalistic lust. Being desperate never sounded so suave.

"Bless all the homecoming queens of the night/They're looking for magic in gymnasium lights"

I love the imagery of the homecoming queens lying on the floor in what is supposed to be a special moment, only to find an emptiness less magical than an incandescent light bulb. Sometimes what you want isn't what you thought it was going to be, and youth is wasted on the young.

"It's all or nothing, and nothing's all I ever get/Every time I turn it on, I burn it up and burn it out"

This is such a perfect summation of pessimism. It acknowledges there is something out there, something great, and some of us sabotage and destroy it before we ever get our chance. It isn't about bad luck, but instead a description of how we often hold ourselves back.

"Surf's up, and so am I"

Steinman wrote many 'boner lines'. The most famous is "can't you see my faded Levis bursting apart", while the worst is "you got the spark - I got the wood". My favorite is this one, which is just subtle enough you might not catch it at first, but undeniably a boner line when you do.

"I don't know anything about you baby, but you're everything I'm dreaming of/I don't know who you are but you're a real dead ringer for love"

A line that plays into the ways we can't always see the difference between love and lust. She is the spitting image of his fantasy, so he is willing to take the risk with her, not knowing if they can get along at all. Ultimately, it's another incredibly desperate line, which is a theme of Steinman's work.

"I'm praying for the end of time, so I can end my time with you"

The best part of "Paradise By The Dashboard Light" is the ending, because of this section. Meat is a man of his word, and he isn't willing to throw away his conscience even when he is deeply unhappy. So what does he do? It wouldn't be his fault if time itself ended. He can't be blamed for not loving her anymore if they don't exist at all. It's a tasteful way of saying he would rather be dead than be with her. I'm not sure why, but I find that hilarious.

"Your love is like a shadow on me all of the time"

What I like about this line is how darkness creeps in, and we realize love is not always the wonderful thing we imagine it to be. Sometimes, love can be a total eclipse, and it can swallow us whole. We can lose ourselves in those feelings, and become someone other than who we are, as if our shadow has changed our features by obscuring us from reality. I know I'm thinking too much about this.

"I can still see a vision of you, but it's out of my sight"

This is a line I actually wrote my own variation of (and though it may be heresy, I think mine is better), and it works on the same desperate level as so many other Steinman classics. Even if their time together is over, or never happened in the first place, her image is painted on the inside of his eyelids, where it will never fade. There's real dedication to having someone entwined that deeply in your memory.

"Don't worry about the future, sooner or later it'll be the past"

Finally, let's end with this line, which reminds us of an important thought; no matter how good or bad a moment in time is, that's all it is. Whether flush with anticipation or drowning in anxiety, the moment will pass by like every other, and become another memory sinking into the sands of our minds. I love how it tells us worrying is useless, even if inevitable, because that moment is no more important than any other, ultimately. It's an oddly optimistic thought from Steinman, and perhaps the best way to remember him.

Singles Roundup: The Wallflowers, Powerwolf, The Warning, Alicia Witt, & The Gritty Gang

The summer rush is fully upon us, as another crop of singles we need to talk about has come out in just the last week. Let's see what we have this time.

The Wallflowers – Maybe Your Heart's Not In It No More

Now that we have two singles from the new album, I'm feeling much more comfortable that The Wallflowers are at least on the right track this year. Both songs still borrow more heavily from Jakob Dylan's folk solo work than ever before, but the songs are back to being rootsy rock, and not the more beat-influenced sound that made "Glad All Over" such a disappointment. I will say, however, neither song has the kind of muscle or hooks that the band was so great at before their first long break. I'm not calling it a disappointment, but it's only half a step back in the right direction. Hopefully, there will be a few gems deeper in the track list.

Powerwolf – Beast Of Gevaudan

When it comes to power metal in recent years, Powerwolf has been as good as it gets. Their last two albums have been fantastic, and this song sounds like they are carrying right on where they left off. Their sound is dramatic and powerful, and they can make a four minute song sound more epic than most bands could dream of. With the catchy melody, and Atilla's operatic voice, they embody the cheese of power metal and gimmicks in exactly the right way. I have no reason to doubt the upcoming record is going to be anything but another great effort.

The Warning – Choke

I was in position to hear The Warning before their first album was released. The DIY ethos was a point of pride, so I was surprised to see this new song is their first for a label deal. What I can say is that nothing has changed as a result of that, but the pendulum has swung. The elements of their alternative rock style are the same, but the song goes back to the quality of their first album, and avoids the slight slump I felt from the follow-up. They're a good band, and if they can release more songs like this, they will keep climbing the ladder.

Alicia Witt – Talk To You

I was incredibly fond of Alicia's "15,000 Days" EP. The blend of her piano and voice was a pillowy platform for her melodies, and I've often found myself going back to those songs when I want to hear something soft and embracing. "Talk To You" is the first taste of an upcoming album, and it's just the sort of song we need more of. Or maybe it's just me who does. Regardless, the song tells of Alicia's desire to connect to people, and that exactly what it feels like. The warmth of the sound feels like a hand reaching out, and I am ready to accept it. With her most recent efforts, Alicia has more than proven herself as a worthy songwriter.

Gritty Gang - Hunger Strike

Raising awareness and money to combat homelessness in LA, the women of Gritty In Pink have come together to give us this cover of the Temple Of The Dog classic (I was a touch too young to remember it as such). Leah Martin-Brown and VK Lynne take up the roles of Chris Cornell and Eddie Vedder, and the shift in voices alters the tone of the song. The societal roles stereotype presents us makes the song sound like an even more heartfelt expression of caring for those who are suffering. Cornell and Vedder's pain sounded more personal, while Leah and VK's hearts bleed for the people. Perhaps that isn't fair, but in this case the roles social psychology assigns make this more effective for its goal. With great vocals and a pristine production, it catches you off-guard how hard Alex Nicole Windsor comes in with that heavy riff. They don't make them like that anymore, and these women are more than up to the task of showing us what that era might have been like cleaned up just a bit. They are showing there is often a gem waiting for us underneath the dirt and grime, both in music and society. All we need to do is help wipe away the struggle. We need to hear that message, and this song is a perfect vehicle to teach us. This temple is proper worship, and calling for our devotion.

Album Review: Bloodbound - Creatures Of The Dark Realm

The mystery surrounding any new Bloodbound album is not whether it will be any good (they're usually all reasonably solid), but who they will be copying this time. They started with Iron Maiden on "Nosferatu", they tried Soilwork on the awesome "Tabula Rasa", and have done Judas Priest and Sabaton in later years. That's my major gripe with Bloodbound. After all these years and all these albums, I still don't really have much sense of what their identity is, since they keep adopting someone else's nearly every time out. It's hard to be impressed by a band when you don't know who they are.

Picking the point of reference took a bit more time on this album, which is both a good thing and a bad thing. On the one hand, if they really did inject a bit more originality, it would be a good development. However, it could also be that I'm just a bit more out of touch with the power metal genre right now, so it wasn't as obvious to me as it will be to others. Once I heard it, it was unmistakable; Bloodbound is now Powerwolf.

That said, "Ever Burning Flame" takes us back to the "Nosferatu" days, but that's only worth so much, since the melodies of that time were the most generic power metal tropes they could find. That's still the case here, with a song that sounds played out even before it ends the first time. They can't escape being generic, and it has long made them a less interesting band than they could be.

When they do adopt a heavier dose of Powerwolf's sound, things improve. Moments like the chorus of "Eyes Come Alive" are massive, catchy, and bigger in scope than Bloodbound usually is. The problem with this approach, however, is that it is exceedingly rare to do a band's sound better than they themselves do it. Powerwolf has been on a roll on their last few albums, and Bloodbound doesn't quite have the operatic flair they do, so they come up short of the bar.

What I can say, though, is that this is the most successful pastiche they have engaged in since "Tabula Rasa". Sure, I like Powerwolf more than the other bands they have been borrowing from, but this sound seems to fit their songwriting better anyway. If I didn't have a history of being frustrated by Bloodbound, I would hear this album and be impressed by their ability to write songs in this style and tone. It's only knowledge and personal grievance that is holding them back.

I can still nit-pick them for the cynical approach to their music, but this time I won't deny the results. This is the best Bloodbound album in ages, and the first one I will also say is good on its own terms. Power metal may still be stale as a genre, but there's something great about it when it's done at the highest level. This album comes pretty darn close to getting there. I like this one.

Singles Roundup: Helloween, Light The Torch, KK's Priest, & The Picturebooks

The album well is running a bit dry at the moment, so let's take a look at what individual songs have been coming out recently, placed into our ears like dollar bills into g-strings.

Helloween – Skyfall

The first taste of the upcoming album featuring all three men who have fronted Helloween, and I have to say I'm underwhelmed. Helloween hasn't been interesting to me in a long while, and adding in the other voices doesn't cover up for the things I don't like about them. In fact, adding Michael Kiske back into the mix is a huge detriment, if you ask me. There's also the issue of them releasing this song, which isn't even the version that will appear on the album. While they think that's going to make it still sound 'fresh' when we hear the record, it really means this single can be completely ignored. In time, it will be like it doesn't exist. I won't be so harsh as to say it already doesn't, but I'm not feeling much anticipation to hear more of this experiment.

Light The Torch – More Than Dreaming

This time, the band is giving us a short and sweet number the wastes no time pummeling us. What I love about Light The Torch is how they show you can still make huge and heavy music without sacrificing melody and emotional. Howard Jones' clean singing is both of those things, and the band is better for not covering up large portions of the songs with screaming. That would be traditionally 'heavy', but we wouldn't be able to feel the song the same way. Both singles so far are excellent, and point to the upcoming album being the highlight of the summer.

KK's Priest – Hellfire Thunderbolt

While I have never been a fan of Judas Priest, I think I can still say that this song is a far cry from their best, or even their current best. I wasn't big on "Firepower", but I recognized it was exceptionally well done for the style they were attempting. This song, however, is not. KK's guitar sounds weaker and flabby, Ripper continues throwing in those painfully and small sounding piercing vocals, and the lyrics of this song (and the titles of the others on the album) are so cliche it hurts. This is old man's metal, and I'm not that damn old yet.

The Picturebooks ft Lzzy Hale – Rebel

When I grouse about production, there's usually a reason for it. Case in point; this song. I love Lzzy's voice, and I consider her the best singer of her (and my) generation, but the hazy and muffled production of this song is beyond disappointing. It has a nice laid-back groove, and Lzzy's melody has enough charm to make the song a winner. The problem is that with the production on it, Lzzy's voice doesn't shine through, it doesn't have the clarity where we can hear the nuances of her performance. Even when she's giving it her all, it doesn't have the powerful sound I know is coming out of her. It's a poor representation of what she is really singing, and the song suffers so much from it. Give me a clean vocal from her, and this song would rock. As it is, I'm left wanting.

Album Review: Yard Of Blondes - Feed The Moon

I've never quite understood the long-term appeal of bands like Queen Of The Stone Age. Sure, I enjoyed "No One Knows" when it was a hit, and I do have a copy of "Songs For The Deaf" sitting on my shelf, but I haven't listened to it in fifteen years. I haven't bothered checking out anything they have done in almost that long, either. The thing about fuzzy music, to me, is that the fuzz also translates to my memory of it. The fuzz makes the riffs and melodies harder to enjoy in the moment, and easier to forget once that moment has passed. Given how many bands are out there who love their fuzz pedals, I realize I'm in the minority.

Yard Of Blondes remind me of Queens, with Fanny giving an angelic counterpoint rather than Mark Lanegan's sinister additions. When the vocals approach a falsetto in the chorus of "Murderology", that combination pays dividends. There's an ethereal quality to the mix that sounds like a haze of smoke floating in still air. It's something a bit different, and altogether pleasant. At times, I almost wish they took the approach of letting both voices sing and harmonize every line of every song. That would hook me.

Even when the band goes for something more aggressive, like on "You And I And I", the fuzz gives the song softer edges that make it sound more restrained than it really is. We could look at that one of two ways; either the production is robbing the band of some bite that could make these songs hit harder, or it makes these songs a heavy melodic syrup that's easier for more people to swallow. I can make the argument either way.

If we return to the comparison I've spent most of my time on already, this is where Yard Of Blondes shines. Queens will often go off on esoteric tangents, trying to be quirky and artistic for reasons that are hard to understand. They purposely want to be difficult. Yard Of Blondes wants to invite you in, wants to give you an enjoyable experience. That makes it much easier to hear the strong points of their music.

The strongest point of Yard Of Blondes' style is their emphasis on making their songs melodic, despite their fuzzy tone. Too often, bands that use sounds that obscure the clarity of their writing use that as an excuse to slack off and not bother writing compelling songs. Yard Of Blondes make sure to give every song a solid hook. With a slightly different production, we might even call what they do power-pop. "1994" would absolutely be such a song, if the guitars sounded like Weezer's "Blue Album" of said year. When you start thinking of Yard Of Blondes as a power-pop band in disguise, it opens up what they're doing.

"Feed The Moon" might be an album that takes some time to fully grasp, but when you do, you'll see there's some strong potential with what Yard Of Blondes are doing. For a debut record, they make a solid case that they have a road in front of them that can lead somewhere good. We'll have to wait and see if they make it all the way.

Album Review: We Were Sharks - New Low

Is it happenstance that I have found myself tackling a few more albums under the guise of emo/punk than I usually do, or is it a reaction to the ongoing circumstances of the world? That's a hard question to answer, but there does seem to be a notable shift where I have been drifting yet further away from the metal world, and threads of the old alternative have been showing through the fabric. Next on that journey is We Were Sharks, a group of Canadians following in the thematic footsteps of recent favorites Dream State and Yours Truly, wherein they are making music about the upswing after finding the low point. Hence the title.

"Shameless" kicks the record off with massive chants of "fuck you" to just about everyone, and the song unintentionally taps into a psychological phenomenon I have been fascinated by; the lack of shame. Between celebrity and politics, and the melting of the two together, we are now living in a time when more people than ever proudly have no shame about lying and cheating their way to whatever goal they have. I used to think it was a disorder of some sort, but given how many people are now proud of their worst thoughts and impulses, I have come around to believe the idea that people are inherently good is beyond flawed. The band isn't going that deep on their song, which is far more tongue-in-cheek and sarcastic, but they do prompt the thought.

Back to the music, one of the best songs on the record is "Problems", where the sweet and hooky melody belies lyrics about being at your breaking point, saying "I don't know how much more of this I can take." It's a common refrain, and the optimistic tone of the music gives us the impression the light is there at the end of the tunnel, we're just waiting for someone to come along and flick the switch. Whether or not that's accurate, it's an attitude that makes it easier to keep putting one foot in front of the other.

To take a different approach, we can also look at this record in light of one of last year's critical darlings. Spanish Love Songs released "Brave Faces Everyone", which chronicled the depths of pain and depression by way of anthemic emo/punk songs. We Were Sharks is looking at that same reality, but without the hopelessness that things will ever get better. One album bought a can of ultra-black to use as their battle paint, while the other is content to write their songs with a Sharpie. Maybe it's easier to say it's the difference between unburdening yourself in therapy, versus talking to a friend.

That attitude, and the catchy songs We Were Sharks writes, makes this an easier album to take in. They are not testing your emotions or trying your patience, but writing sweet songs you can take on whatever level you so choose. That leaves "New Low" as an album that can serve multiple purposes, which makes it the sort of record that is likely to always have a role to play.

I'm not going to tell you "New Low" will make as deep an impact with me as "Primrose Path" or "Self Care" did, but they all fit the same mold, and it's one I keep saying we need more of. So if We Were Sharks adds another album onto the pile that tries to lift us up from the depths, I'm all for it.

Album Review: Sunbomb - Evil And Divine

Some people think they re wildly more creative and prolific than they really are. They churn out record after record, not realizing they are flooding the market with inferior versions of their own sound, dulling any enthusiasm someone might have for any one of those many, many records. Michael Sweet is one of those people, having put out countless albums in recent years between Stryper, his solo career, Sweet & Lynch, and now Sunbomb. This album finds him paired with Traci Guns, who continues to have a career simply because he was once connected to Guns N Roses. I find it fascinating that decades of making not a single song anyone cares about hasn't been able to kill his career.

Nostalgia's a powerful drug.

This time out, the two 80s 'legends' are seeking something heavier than their usual fare, which didn't strike me as a good idea. As it happens, I was right. Sunbomb is a project where both men try far too hard, and the shortcomings of their decades in the business are put on full display.

It starts with their aging ears, possibly damaged from the countless times they have stood in front of blaring amps on stage. Like several other veteran artists I've encountered in recent years, they think this record sounds great, when the production is hazy around the edges. Traci's guitars are fuzzy in a way that isn't heavy, and Sweet's vocals vacillate between shrieking to get above the guitars and being completely buried in the mix. This record sounds like the pre-production demos.

It continues with Sweet's penchant for over-singing everything. These songs are packed with Sweet starting off at full volume, which leaves him nowhere to go when the song is supposed to rise to the chorus. That's not the only issue, though. It's also exhausting to listen to someone giving their absolute all each and every second. Rather than sounding powerful, it leaves me wondering why he has to shout at me the whole time. Shouldn't the songs have more dynamics than this?

It finishes with lackluster songwriting. It's never worse than when they try on Sabbath-esque sludge, but throughout the record we get guitar riffs with no bite, and vocal melodies from Sweet that never stick. Being heavy means not having to write memorable songs to a lot of people, and that's the mistake Sunbomb finds themselves making. Sure, they've cranked up the amps a bit more this time around, but the songs are the same mediocrity both have been putting out all along. Being heavier doesn't make a boring song any less boring.

Sunbomb comes across to me as a project put together just so both men can say they're getting heavier rather than getting older. This might well be their heaviest album, and Sweet might scream and shriek more than ever, but I don't care about any of that. Those are descriptions of tone, not quality, and that quality is missing in action.

I won't say Sunbomb is a bomb, but it's solidly a dud.

Album Review: False Memories - The Last Night Of Fall

False Memories is presenting themselves as a Gothic metal band, which is fine, except for one thing; that term is often used to describe an atmosphere that overtakes the importance of songwriting. When you get to certain genres, the sound becomes more of the focus than the songs, and as long as the right gloomy approach is heard, it almost doesn't matter to some people what the quality of the songs is. It's like when you go to a movie and marvel at the special effects. That's nice, but they aren't what makes a movie good or not. Likewise, just being Gothic doesn't satisfy those who are not devoted to the sound, such as myself.

That's where I feel False Memories have gotten caught. They have the requisite tones and atmospheres to pull off a Gothic approach, but their songwriting don't have enough hair-raising hooks to carry through. They are the perfect foggy shot of the horror movie scene before the monster pops up, until you realize it's the projector that's out of focus.

Part of that comes from the band's assembly. Rossella Moscatello can sing, but her voice is neither powerful, gritty, nor dark enough to pull of the Gothic. She is mis-cast in this role, and without having the right voice to lead this seance, we aren't going to be able to cast the right spells. Katatonia embodies gloom and melancholy in both their instrumentals and Jonas Renske's haunted voice. False Memories can't do that.

They do write a few good songs. "Rain Of Souls" and "Hysteria" both have solid melodies that are enjoyable, but I feel even then the disconnect between the sound they're aiming for and the one they deliver is enough of a gap to create pause in my mind. Other songs crawl along in an attempt to be sinister, but they move so slowly you can easily walk away from the danger. The production doesn't help, as the recording sounds a bit too thin. For a record that wants to be drenched in atmosphere, there isn't any space in these songs for it to linger. Everything sits at the same volume, eliminating any dynamics of things like a quiet creaking off in the distance. We know everything that is happening here right away. There isn't any mystery.

"The Last Night Of Fall" is a perfectly fine record, but it's not exciting. Nothing about it demands your attention, and without every ounce of it, much of this music is going to be forgettable. It's pleasant enough in the background, but it makes little case to be given a starring role. I don't have much else to say beyond that.

Album Review: Myles Kennedy - The Ides Of March

I appreciate that Myles Kennedy wants his solo career to be something quite different than everything else we've heard from him. He was putting out records to frequently between Alter Bridge and Slash's solo band that I was growing a bit tired of hearing him, but more than that I was confused how we was able to keep churning out new melodies. I am not a songwriter on the professional level, but burnout is a very real thing, and there are only so many songs you can write in a short amount of time before you start repeating yourself. There's one musician who scoffed when I questioned his productivity who has taken a precipitous decline in how many records he has been releasing lately, so I take that as an indication I know what I'm talking about.

So while I appreciate what Myles is after, I have to say his first solo album left me cold. I'm not sure if it was the bluesier folk approach, or if those songs didn't allow his melodic sense to shine through, but I found it a tiresome album that felt far longer than it really was. This album has been said to take a step toward mixing in a bit more of his other gigs, which can only be a welcome development.

Right off the bat, "Get Along" opens with a blues stomp powered by rock and roll. It's already a more energetic record, and Myles slips into a melodic section that is gorgeous. If that was the chorus of the song, and built up just a bit more, I would be thrilled. However, he then segues the song into what he considers the hook, and it's more cliche and less engaging to my ears. The song weaves between moments of greatness and moments where he focus is misguided.

When Myles is working in the confines of marrying lush melodies to bluesy backdrops, he produces some great material. "A Thousand Words" is wonderful, integrating the influences he can't use anywhere else, and giving him a sound that is unique from the heavier rock he usually sings. It also helps find the right range for his voice. Myles has a powerful instrument, but there's something about his tone on the softer and more emotional moments that doesn't seem to work for me. Keeping the songs a bit more rock helps smooth out those bits.

The title track is a venture into prog, as the song traverses different tones as it shifts from section to section. Unlike a lot of prog, however, Myles makes sure that several of those moments have strong and memorable melodies that serve as mile markers along the seven-plus minute ride. He isn't content to amaze us with his willingness to go on a more varied ride, he still gives us a song that calls for our attention. There are far too many writers unwilling, or incapable, of doing that.

The dirty slide guitar of "In Stride" is a lot of fun, and Myles' acoustic guitar figure starting off "Love Rain Down" is beautiful. More than just a good player, he proves himself a tasteful player as well, focused on adding parts that mean something. He doesn't play for the flash and attention. Restraint is a hard thing to master. There are countless examples of guitarists, and singers, who never got the message.

Ultimately, I'm left straddling the divide. I hear exactly what Myles is going for on this record, and there is a lot of impressive work being done. I find this to be a huge leap forward from his first solo album, and it's pretty fantastic at hitting its mark. That being said, I have never felt the pull of the blues, so there is much about this record I'm never going to be able to embrace the way a lot of people will. Still, I can recognize an accomplished record when I hear one, even if it doesn't quite fit my taste. That's the case here. Myles Kennedy is now carving out an identity as a solo artist, and it feel much more real this time around.

Album Review: Violet Orlandi - High Priest Daughter

There are countless ways to get attention for yourself as you start a music career, and for some reason we treat them as though some are more 'honorable' than others. Why do we fall back on the belief that toiling away in dank clubs for years is a more noble way of building a fan base than going on a reality show? Or harnessing the power of social media? It doesn't make any sense when you think about it. All that should ever matter is the music, not the path taken before we hear it. Yet, psychology doesn't allow us to be objective about everything. We are, in ways, controlled by thoughts that are not our own.

Violet Orlandi is a name I had seen pop up on my own YouTube feed. She has garnered a sizeable amount of attention for her covers of classic rock and metal songs, using that platform to showcase her talents, and to get people ready to hear more of who she is as an artist. It's very much a modern story of artist development, but it speaks to something. With so many voices out there, getting attention this way may be harder than any other route. That's intriguing.

"High Priest Daughter" is an album of Violet's own artistic vision. After hearing her voice reflecting classics, we now get to hear her voice as her own. As a singer, she possesses a powerful instrument with echos of Amy Lee, or for me it's Forever Still's Maja Shining. She is able to sing with power and grace, hitting the biggest notes with ease, and showing tenderness during the quiet moments. She sings to the songs with aplomb.

What's most interesting is the tone the record takes; a sinister acoustic sound that uses the space between the ringing strings for her voice to resonate. I love the instrument, I play primarily acoustic, and yet I haven't heard many records that treat it in this fashion. It's hypnotizing during "Devil Walks Backwards" to hear such a jittering pop melody played over an acoustic guitar that has the somber tone befitting the cloud of smoke the titular devil would be walking backward into to escape our gaze.

Many people talk often of wanting artists to do something 'new', as if novelty is a substitute for quality. What Violet is doing on this record may not be entirely new, but it is rather novel, and that catches my attention in a way a more electric record might not. The approach perks my ears, but if the songs were not there, it would not be enough. The songs are absolutely there. Violet proves herself a deft writer at putting together songs that put her voice in the right light. She never pushes the songs to give her room for vocal acrobatics or spotlights, focusing instead on writing melodies that show off her best attributes. It's the sort of nuance a lot of artists never learn.

I also think it's worth applauding Violet for putting out this kind of record, given that it doesn't fit any of the easy avenues for success. These dark acoustic songs don't have a natural outlet in any rock format in the mainstream, which means it's a record made for artistic purposes. It isn't really that often we can say we know that for sure. It takes courage to release something without a natural fit, that an audience might not be ready for.

I first played this record on a gloomy morning, and that is when this music works best. It lives in the thick melancholy when you can't tell if the air is filled with fog or rain. Violet's music is the most vivid shade of gray, that slightly glowing focal point during an old movie. The subtlety and introspection of this album won't be for everyone who considers themselves to be a rocker, but it's a nice gift for those of us who understand. Violet proves a lot on this album, and that's something to be mighty impressed by.

Album Review: Acid's Trip - Strings Of Soul

On the title track to this record, the line is sung that, "it's pure rock and roll". It's funny how different that statement reads today, as opposed to the mid 70s, which is when Acid's Trip wishes they were making music. Part of the vintage rock revival, their sound is of that classic time, and continues to sound refreshing against the backdrop of ultra loud, ultra saturated, screaming bro-ness that stands in for rock and roll in many places. Acid Trip's guitars are wonderfully under-gained, with that organic sound you can't replicate when you try to play on the edge of heaviness. It's the sort of thing that does rock, but not with such ferocity it wears you out rather than make you want to stick around.

"The Kiss Riff" is very much accurate as a title, but perhaps they could have come up with a title that indicates the song has some sort of meaning to them other than sounding like a classic Kiss song. I've seen plenty of bands give their works-in-progress such titles so they can keep them straight during the process, but they always back-fill them with real title once they write lyrics. I'm not sure why Acid's Trip didn't do the same, because the unspoken implication here is that they didn't put any more thought into the song once they came up with that familiar feeling riff.

"No More Fucks" is the hardest and most energetic song on the record, as it should be. Unfortunately, with the production obscuring some of the vocals, it's hard to discern exactly why the band is declaring their supply to be depleted. That matters less on "Just A Man", where the jaunty song and the catchy melody make up for any bit of haze that may pervade. It's these numbers that have less attitude where the band is at their best. The punkier numbers don't hit as hard as they need to, because neither the guitars nor Acid's voice snarl quite enough.

They are better when they settle into the vintage-by-way-of-stoner approach Lucifer has taken on their last two records. It's a sound that is old-school and melodic, but fuzzy and off the beaten path. If Acid's Trip has stayed in that realm a bit more often, this record would have a lot of charm. Songs like "Faster, Chopper, Boogie" just don't hold a lot of appeal for me. I like them when they come across like a melodic hard rock band being played back in mono. That sound doesn't capture heaviness well, so those songs don't have the elements needed to balance out the lack of big hooks.

I'll end by throwing a couple of comparisons out there. Sonically, Acid's Trip sits somewhere between the aforementioned Lucifer, and Thundermother. The difference is that both of those bands have been leaning in more melodic territory, and it has done them a world of good. Acid's Trip can absolutely do that too, and they do on several tracks on this record, but I think they need to figure out what exactly they want to be before they make their next record. If they focus on an identity, they can make a great record. This one is mixed, but shows us the way.

Album Review: Skarlett Riot - Invicta

Time really does seem to lose some meaning as you get older, and especially when the world all but pauses for some of that time. It has now been four years since Skarlett Riot released their last album, and that fact caught me off guard. I knew we were due for a new record, but it amazes me an entire Olympiad period has elapsed since "Regenerate" was released. A lot has changed in that time, but it appears Skarlett Riot has not. That's a good thing, considering how the last time we heard from them, they were making a case they were a band to keep your eyes and ears on. Now we get to find out if that promise they showed has paid off.

Right off the bat, the band packs the same punch as before, with a metallic edge that brings a hefty, mechanical tone to their music. Their tone is not warm, fuzzy, or even biting. Skarlett Riot's music is colder, and more heartless about scorching the earth under their feet. They are that modern rock/metal hybrid who do manage to sound futuristic. That mechanical quality I mentioned earlier makes their music sound not of this time, as if it still is ahead of the curve.

Skarlett's voice, amazingly, fits that tone perfectly. Her voice is smooth and powerful, yet it doesn't have the tones we would normally associate with cheer and warmth. There are a lot of places where I'm not sure she would fit, but this vision of a band is centered around what she is best at, and they all blend together into a perfect amalgamation.

It seems on this album, the band has decided to push themselves to be a bit heavier, as they have more harsh vocals popping up to add different textures to the songs. This music can certainly handle it, but I'm not sure they come across as heavy as they intend to be, so the harsh vocals sometimes get in the way. There is also the fact that Skarlett's melodic singing is what keeps the band anchored, and the balance between her and the instrumentation gets thrown a bit off when the more aggressive vocals are used as more than a minor punctuation.

Maybe that is just trying to keep up with the trends, where rock and metal continue to get more and more extreme as the audience dwindles. Why do people keep saying rock is dead? Part of it is because rock has become so insular, and has gravitated towards pleasing the hardcore fans alone. That isn't how you win over new fans. Skarlett Riot has plenty of ability to write songs that should be getting some airplay, especially when you compare it to the crap that actually fills the rock playlists. Their hooky rock/metal approach is great, and I really like the rousing choruses Skarlett graces us with. I just feel that the harsher detours on the way there are both unnecessary and unwise. The songs would be just as fist-pumping without them, and it would be easier to bring new people into the fold. I'm not against harsh vocals entirely, but they almost always limit my enthusiasm. I have to be honest and say if Skarlett sang everywhere there is a scream or growl on this record, yes, I would like it quite a bit more.

That being said, I do still like this record a good bit. Skarlett Riot writes memorable, melodic songs. They are carrying the torch for what I've long said modern metal is supposed to be. It started (for me) with Bloodbound's "Tabula Rasa", and since then has seeped throughout the scene, mixing some of the instrumental elements of melodic death metal with almost pop vocal melodies. When they stick to that formula, they're a darn good band. We're talking on a continuum, and they are a step or two further to extreme than I would say is the perfect balance. It's an intentional choice, and they still achieve what they want very well. Skarlett Riot is clearly a talented band. Even if we disagree on some of the details, we agree on the bigger picture.