The Poodles Clash Of The Elements

by Mike Debbage
Staff Writer

Beginning in 2005, the musical career of The Poodles was kick started via the rather mainstream Eurovision Song Contest as Sweden’s representative. This was probably not the most authentic way for a metal band to set the world on fire. Nevertheless, two respectable albums later and grinding tours that also included a stint with the Swiss band Gotthard, it was time for The Poodles to return to the studio. This time around, they sought the assistance of famous producer-mixer Mike Fraser whose credits include working with Aerosmith, AC/DC, Led Zeppelin and Whitesnake, just to name a few. Needless to say, the material and sound show that The Poodles are no longer just Eurovision material but are ready to take on the world.

Clash Of The Elements represents the first album since the departure of guitarist Pontus Norgren, who did not like direction that the band was taking, and his replacement Henrik Bergqvist. With no disrespect to Norgren, the effects were inconsequential. In fact, the14-track album shows that The Poodles were paying attention while they were on tour with Gotthard, as the anthem and positive melodic themes are delivered here with similar effects. The album opens to the sounds of atmospheric strings and sound effects that merge into the mid-paced, moody “Too Much Of Everything.” Considering the consumers’ demands for instant pleasure, this may not have been the smartest sequential move, but the raving follow-up track “Caroline” instantly transforms the disposition of the album. Similar results can be found on the adrenaline-filled “I Rule The Night.”

The album is evenly spotted with its fair share of mid-tempo ballads, which include the more successful “One Out Of Ten” and “Can’t Let You Go.” The album closes out with the building melancholy of “Wings Of Destiny” in which orchestration works as a tremendous backdrop to Henrik’s refined but powerful guitar work. Somewhere in between the rockers and the ballads, you can find pleasure courtesy of “7 Days And 7 Nights” in which adrenaline comes courtesy of a honky-tonk attitude reminiscent of Guns N Roses. Or check out the fist-pumping “Like No Tomorrow” in which The Poodles parallel the previously mentioned Gotthard.

Though there is not a lot of originality with The Poodles, this is overcome by compositions that are driven by memorable hooks and anthems presenting a glamorous twist on their very melodic rock approach. While the band may be named after the hair band or poodle rock era that their music encapsulates, Clash Of The Elements shows absolutely no sign of being a dog.

Genre: Glam Rock

Band: www.poodles.se

Track Listing:
1. Too Much Of Everything
2. Caroline
3. Like No Tomorrow
4. One Out Of Ten
5. I Rule The Night
6. Give Me A Sign
7. Sweet Enemy
8. 7 Days And 7 Nights
9. Pilot Of The Storm
10. Can’t Let You Go
11. Don’t Rescue Me
12. Heart Of Gold
13. Dream To Follow
14. Wings Of Destiny

Label: www.blisteringrecords.se

Hardrock Haven rating: 8.5/10

Bloodbound Tabula Rasa

by Derric Miller
Staff Writer

When Bloodbound released Nosferatu back in 2006, the smart money said these guys may be the “next big thing” in Power/Progressive Metal. Nosferatu was one of the best releases of the year for many critics, who embraced the concept album with a wicked cool storyline, and it was one of those creations that you can go back to again and never get bored with. Then, the band sort of went in various directions, the most critical move was losing singer Urban Breed and bringing on Michael Bormann, a tremendous singer who found himself slightly out of his comfort-zone playing this type of Heavy Metal. Whatever momentum they still kept building, and Book of the Dead was still successful by all rights. But it was not Nosferatu, it was just “good.” Now Urban Breed is back, and so is Bloodbound.

Tabula Rasa opens with “Sweet Dreams of Madness,” with eerie keys and bludgeoning, downtuned riffs from guitarists Tomas Olsson and Henrick Olsson. It was probably unfair to Michael Bormann or anyone else to try to replace Breed’s presence in Bloodbound, because when you create something as preturnately grand as Nosferatu, how do you replace or even stand up to it? (Breed is going to experience the same problem, as he also sings for the band Pyramaze and tries to replace Matt Barlow, the replacement for original singer Lance King; even Barlow couldn’t live up to his name and take King’s place in that band.) The point is, this is how Bloodbound should sound, and it’s awesome …

“Take One” is one of the highlights on Tabula Rasa, mainly because of the mysterious lyrics like “What if it’s all a lie? Or just a waste of time?” and the rhythm and soaring vocal presence Breed exudes when he asks these questions. It doesn’t hurt that masterful guitar leads flash between the chorus and next verses either. Bloodbound, when they do it right, create mammoth anthems that few bands can replicate, and year one of those anthems on “Take One.”

The title track, “Tabula Rasa,” probably owns the best chorus on the release, especially the last refrain, “Tabula Rasa, what I am and who I was before … who I was before!” Reminds you of Mark Twain, who uttered, “I had been dead for billions and billions of years before I was born, and had not suffered the slightest inconvenience from it.” Bloodbound can be a Thinking Man’s band, and you will enjoy their music exponentially more if you pay attention to the lyrics instead of just pumping your fists and guzzling mead.

The best track, though, is the haunting “Night Touches You.” Breed, ever since Tad Morose, has not always been able to sell his softer vocals; he just seems more honest and heartfelt when belting out the angrier, grittier vocals. Well, put that thought to rest, because “Night Touches You” is amazing, especially vocally. When you get to the chorus, “Night touches you … forever. Night touches you … forever!” you will hear why Bloodbound wanted him back. When Breed does best, though, is change keys and add a serious touch to his vocals on the next chorus. Again, when Bloodbound is good … they are damn good.

So what’s not up to par? “Tabula Rasa Pt. II (Nothing At All)” sounds a lot like they are trying to be Dream Theater. They don’t need to do that. The lyrics lose their potency as they go for the same rhyme scheme as the original original chorus: “Tabula Rasa, take me now, or take me don’t you know … don’t you know.” Also, “Plague Doctor” is heavy, but the talk-singing is slightly grating and you won’t come back to it too often. “Twisted Kind of Fate” is good, but nothing compared to “Tabula Rasa” or even “Sweet Dreams of Madness.”

The most curious element is the closing track, “All Rights Reserved.” On the surface, this title doesn’t fit in anywhere on the release — rarely does Bloodbound title something so mundane and commonplace. It would almost seem like they have run out of steam on lines like, “I need your name, address and number, maybe date of birth.” One thing they do prove is that regardless of what they write about, or even if their lyrics are boring, the music and vocals will always impress.

Tabula Rasa is the recording they should have made after Nosferatu. For those who initially became fans because of Bormann, you are in for a diet of Metal. Breed fits Bloodbound, and while Tabula Rasa is a strong release, they’ve already proven they can do better, and with Breed back in the band, will do so again.

Label: Blistering Records

Track listing:
1. Sweet Dreams Of Madness
2. Dominion 5
3. Take One
4. Tabula Rasa
5. Night Touches You
6. Tabula Rasa Pt.II (Nothing At All)
7. Plague Doctor
8. Master Of My Dreams
9. Twisted Kind Of Fate
10. All Rights Reserved

HRH Rating: 7.6/10

Lillian Axe Sad Day on Planet Earth

by Derric Miller
Staff Writer

It’s quite an evolution for a band originally known for “Dream of a Lifetime” to grow and ultimately create massive sonic tales of sorrow like “World Stopped Turning,” “Needle and Your Pain” and even today, “Blood Raining Down on Her Wings.” Lillian Axe — who Robbin Crosby of Ratt ALMOST helped turn into a Hair Metal band by producing their debut release — never was and never will be a happy, syrupy, poppy Hair Metal band. Instead, Lillian Axe has proven over seven studio releases that they are not afraid to stare into the darkness around us, dissect it, and inevitably write stunning, introspective and musically complicated Hard Rock songs about their experiences. That’s exactly what you get with their new release, Sad Day on Planet Earth.

Their prior release Waters Rising was the first with new singer Derrick LeFevre, who replaced longtime original vocalist Ron Taylor. Few bands have been able to change the lead vocalist without losing steam, but just like Metal Church with Ronnie Munroe and Candlemass with Robert Lowe, Lillian Axe is positioned to bring the old fans back and earn new ones once they hear LeFevre’s overall talent. It doesn’t hurt that he is eerily similar to Taylor at times, although his overall vocal range is broader than Taylor’s.

Most of Sad Day on Planet Earth is filled with contemplative, moody compositions, but it starts off guns blazing after the instrumental opening of “Cocoon.” The first track with lyrics, “Megaslowfade,” is a burner, and guitarist/main songwriter Steve Blaze’s riffs are sweltering, along with rhythm guitarist Sam Poitevent. This is really a gritty Rock anthem, one of the fastest tracks on the release.

“Jesus Wept” is really the type of song Lillian Axe excels at. The song crescendos to a soaring chorus, with LeFevre shining with his emotional vocal depth. The leads are heady, with lines like, “I pull the leeches from my own celestial waste” and “High on your thrown, ruling alone, preaching commandments of your own.” That’s the thing about Lillian Axe: the more you invest in actually listening to the music and understanding their stories, the more you get out of it.

The title track, “Sad Day on Planet Earth,” is a softer composition, with deft acoustic guitar, almost sounding classical at times. Of course, although the beginning is acoustic, it jumps back and forth between electric bombast and then intricate acoustic passages. “I watched the planet and heavens collide; all I could do is bow down.” This is almost like an updated “Dust in the Wind,” with a lot more hopelessness thrown in for good measure.

You will hear keyboards throughout the release, another facet they’ve continued to intertwine in their compositions, and they are almost playful on “Within Your Reach.” While still a slower track, the vocal melodies sound like something out of the ‘60s at times during the opening verses. This is basically until the track changes tempo, and then you’ll be reminded of songs like “World Stopped Turning” from their past glory days.

One of their best titles in a while is “Blood Raining Down on Her Wings.” What is the song about? Well, the lyrics say things like, “That was the night as they tore out her sight, as a testament how far down they’ve fell.” The protagonist is someone who is healing the world, so she is being destroyed by those who either don’t understand or who run on hate. It could be a metaphor for a lot of things, including “her” as being this planet Earth they titled the release after.

After you get your head around the high-energy rockers like “Megaslowfade” and “Ignite,” and then delve into the more existential songs like “Blood Raining Down on Her Wings,” they put it all together on an over 13-minute song called “Fire, Blood, the Earth and Sea,” the closing track. It’s part Folk Rock, especially when you focus on the lyrics and the vocal rhythms, but it’s decidedly Heavy Metal when the song broadens out of acoustic land and LeFevre belts out lines like, “Showed me such monstrosity, a broken heart’s humility, she drove me into ecstasy, I gave her all my seed …” You get a myriad of tempo changes, more near Classical acoustic passages, and keyboards that would fit on a ‘70s Prog Rock masterpiece. “Ambitious” doesn’t really define what they’ve managed to compose here, but you get the picture.

Sad Day on Planet Earth is everything you’d ever want from a Lillian Axe release. With LeFevre on board, it’s almost like they’ve been able to broaden what kind of songs they can write, and they were already one of the world’s most diverse Hard Rock bands before he joined. With Sad Day on Planet Earth, Lillian Axe is back on top of their game, and maybe this time around, they’ll get both the critical acclaim AND massive sales figures they’ve always deserved.

Label: Blistering Records

Lillian Axe Official

Track listing:
1. Cocoon
2. Megaslowfade
3. Jesus Wept
4. Ignite
5. The Grand Scale of Finality
6. Sad Day on Planet Earth
7. Hibernate
8. Within Your Reach
9. Down Below the Ocean
10. Blood Raining Down on Her Wings
11. Cold Day in Hell
12. Nocturnal Symphony
13. Divine
14. Kill Me Again
15. Fire, Blood, the Earth and Sea

HRH Rating: 8.6/10