Beverly Killz | Gasoline & Broken Hearts

by Mark Allen
- Senior Columnist –

The band may hail from the land of pizza, pasta, and Pisa (as in, the Leaning Tower of), but their name summons up images of sleazy Sunset Strip glam-metal circa 1989. And there certainly are some glam-sleaze elements supplementing Beverly Killz’ sound, which is built on a sturdy foundation of melodic hard rock. Sure, it’s all fairly cliché, but it’s done so well that you probably won’t care.

Frontman Vince (the members eschew last names) will not go down in history as the hottest voice the rock world has ever heard, but he gets the job done. There are times on the slower and mid-tempo tunes that his delivery is a tad tentative, but he compensates on the full-throttle rockers by bringing a hearty vocal edge to the proceedings and selling the songs with a suitable supply of sleaze-rock attitude.

The guitars are crisp and clean and occasionally allowed to combust with a little sizzle that is never allowed to spin crazily out of control. (The exception is “Dark Lady,” where Mark really lets the molten solo rip in full-on melodic metal mode.) The bass is beefy yet given room to breathe, the rhythms rock solid, and the sonic quality is open and spacious; Beverly Killz do not succumb to the temptation to strangle the life out of their music through overproduction.

Most of the songs are equipped with the kind of pop-metal hooks that came into prominence during the ‘80s hair-metal era. “Baby You’re on Target” is one such track, sporting a hard rocking edge and big chorus to go along with it, complete with a heaping pile of good ol’ gang backing vocals. “For Love” is another bad-ass barn burner that features some of Vince’s best singing and those gang vocals reappear (actually, they never went away) to provide extra punch and power. “Sin City” comes strutting out with a heavy stride while the raunchy groove, rumbling bottom end, and clenched-fist chorus equals good times for melodic hard rock fans. Oh yeah, there are also more gang vocals and if you’re starting to pick up a pattern here, you would be most astute.

There is only one truly bad song on this album: “What is Love,” a cover of that putridly popular ‘90s dance hit by Haddaway. It’s as jarringly out of place as a pubic hair in a bowl of tapioca pudding and makes you want to ask the band what the hell they were thinking. Sure, it’s “interesting” in a car wreck kind of way to hear the annoying one hit wonder rocked up, but “interesting” does not mean “good.” Sure, you can drizzle chocolate syrup all over a dog turd, but it’s still just going to taste like chocolate-covered dog shit.

Matters of canine feces aside, melodic hard rock fans, especially those who like it with that Sunset Strip edge, should enjoy Beverly Killz more than Michael Bay enjoys making movies with massive explosions. Is it so good that it would be worth murdering your mom in order to gets your mitts on a copy? Well, no…but if you have to run over a squirrel or two in order to get a copy, it’s definitely worth that. The squirrels, of course, might have a differing opinion.

Genre: Melodic Hard Rock

Band:
Vince (vocals)
Mark (lead guitar)
John (rhythm guitar)
Andre (bass)
Fabio (drums)

Track Listing
1. Never Back Down
2. Away From Danger
3. Baby You’re on Target
4. Dark Lady
5. Livin’ & Dyin’
6. Riding Alone
7. For Love
8. Power of Your Sex
9. Sin City
10. In Sorrow
11. What is Love?

Webpage: www.beverlykillz.com

Label: Perris Records

Hardrock Haven rating: 8/10

Sapphire Eyes | Sapphire Eyes

by Nikiforos Skoumas
- Columnist –

Most following the contemporary melodic rock scene are well aware of the Swedish female-fronted melodic hard rock group Alyson Avenue. Active in the early 2000s, Alyson Avenue released two highly regarded albums in Presence of Mind (2001) and Omega (2004). Shortly after front-woman Anette Olzon quit the band having being asked to replace Tarja Turunen in Nightwish, a story known too well.

Alyson Avenue keyboardist and band-leader Niclass Olsson decided against bringing in a new female vocalist, this time opting for a front man — enter Thomas Bursell. Having essentially altered the musical nature of the band, a name change was also in order. The group was re-named Second Heat with their self-titled debut being released in 2004. From there onwards both Second Heart and Alyson Avenue were put on ice up until 2010 at which point Olsson secured a multi-album record deal with fast-rising German record label Avenue of Allies; this led to the re-formation of Alyson Avenue and subsequent album featuring Arabella Vitanic at the front while a new partnership between Olsson and Bursell has come into fruition under the name of Sapphire Eyes.

Sapphire Eyes is very much in line with the musical style of Alyson Avenue and obviously Second Heat. While the songwriting on the album is undeniably AOR, the delivery is granted a harder edge thanks to the thick guitar and drums sound. Add to the above the immense keyboard and vocal harmonies that the duo of Olsson and Bursell bring to the table and you have a melodic rock combination to die for.

In a comparative basis Sapphire Eyes surpasses artistically both the Alyson Avenue of late and Second Heat. Bursell’s admirable vocal range, tone and vibrato become major advantages in Olsson’s musical playbook. The keyboardist takes full advantage of that fact and enters new territory with the vocal-keyboard based ballad “Can’t Find the Words.” It is a song based strictly on key layers and voice yet it’s easily one of the most intense — therefore substantial — AOR ballads of late. From there onwards you have the expected heavy hitters in “This Love This Time,” “You’re my Wings” and “Only Feel Love.”

It is also important to note that Sapphire Eyes operate on a project basis where the duo is joined by former and current members of Alyson Avenue and Second heat most notable being Arabella Vitanic and Anette Olzon, both performing vocal harmonies on most songs.

Overall Sapphire Eyes delivers first class adult oriented rock coated with the kind of production and performance you would expect from a melodic hard rock album of Shylock or Frontline; this is probably the best to come out of the Olsson/Alyson Avenue camp.

Genre: AOR, Melodic Hard Rock

Line up:
Niclas Olsson (keyboards, b-vocals)
Thomas Bursell (vocals)

Track List:
1. You’re My Wings
2. I Want You To See Me
3. Only Feel Love
4. This Love This Time
5. Change Of Heart
6. Can’t Find The Words
7. When Love Comes Alive
8. A Man The World Can Do Without
9. Someone Like You
10. Lay Down In My Arms

Label: Avenue of Allies

Hardrock Haven rating: 9/10

Shakra | Powerplay

by Mark Allen
- Senior Columnist –

Are you looking for something to shake your speakers and rattle the windows? This latest album from melodic hard rockers Shakra has you covered. While the band may have better entries in its lengthy discography, this one is still pretty good and doesn’t stray from Shakra’s entrenched formula of beefy guitar lines, banging riffs and big hooks. Band members have come and gone over the years, but the Shakra sound has remained relatively steady.

On Powerplay, the band’s ninth album, that steady sound still can be described as Bonfire with bigger balls. The band has that European melodic hard rock sound down pat, but the guitars sport a heavier edge than most bands in the genre. It’s what the band always has done, and band members apparently subscribe to the “if it ain’t broke, don’t fix it” adage, because they certainly don’t switch things up this time around. Whether that’s a pro or a con is up to individual listeners to decide, but it’s safe to say that if you enjoyed Shakra in the past, you’ll probably enjoy this album, too. If you always thought listening to Shakra was the musical equivalent of having syphilitic donkey dung forcibly pumped into your auditory canal, then this album won’t change your mind.

There is nothing to complain about from a technical perspective. John Prakesh has a solid set of pipes, and he puts them to fine use here, though he is more suited to rockers than ballads. The guitars really let the riffs rip, while the rhythm section provides a formidable backbone on which to hang the band’s heavy yet melodic sound. The production is non-intrusive and engineered for maximum impact, while nimbly avoiding overdosing on studio gloss.

The problem that has plagued Shakra in the past and continues to plague the band here is the ratio of solid songs to great ones. Every Shakra album has featured a couple of killer tunes, but rarely, if ever, has the band released an album that is killer from start to finish. Shakra hasn’t done so here either. There are several good songs, a few great ones, some filler tracks and a couple of tunes that will give the “Skip” button a good workout.

But when the band gets it right, it’s good enough to give your cochlea a climax. For example, “Higher” is a monstrous hard rock anthem, with hooks high enough to ring Heaven’s doorbell and a backing vocal-powered chorus that really soars. “Wonderful Life” is, well, wonderful; the kind of emotional power ballad that Shakra has proven adept at in the past. And then there is “Save You From Yourself,” which is so damn good that even fans who are hating on the rest of the album are saying this is one of the best songs the band has ever released, thanks to a huge chorus and thick harmonies. It is the highlight of the album, by far, and the kind of track that makes you realize how good Shakra truly can be.

So yeah, a few more gems of that caliber would have improved Powerplay, but the quality is consistently good, and sometimes good is good enough. It’s not the kind of album that’s going to blaze its way onto many Top 10 lists at the end of the year, but it’s not going to be a bottom feeder either. Shakra has always delivered solid, crunchy melodic hard rock and has done so once again.

Genre: Melodic Hard Rock

Band:
John Prakesh (vocals)
Thom Blunier (guitars)
Thomas Muster (guitars)
Dominik Pfister (bass)
Roger Tanner (drums)

Track Listing:
1. Life Is Now
2. The Mask
3. Higher
4. Wonderful Life
5. Dear Enemy
6. Save You From Yourself
7. Don’t Keep Me Hanging
8. Dream of Mankind
9. Stevie
10. Because of You
11. Secret Hideaway
12. Too Good To Be True

Webpage: www.shakra.ch

Label: AFM Records

Hardrock Haven rating: 8/10

Candlelight Red | Demons

by Joe Mis
- Senior Columnist –

Candlelight Red is a hard rocking quartet hailing from that hotbed of metal – central Pennsylvania. They’ve just released Demons, a four track follow up EP to their well-received debut album, The Wreckage. These guys are a young band, and have been busy justifying their victory in the 2010 national Guitar Center “Onstage” contest (which earned them an opening gig for KISS at a Pittsburgh show) – and succeeding.

Candlelight Red makes melodic hard rock, loaded with big hooks and memorable riffs. They successfully blend elements of progressive metal, alternative rock, Goth metal and old school hard rock into a powerful and always melodic package. Their unique sound and dynamic performances have earned the band a spot at the Uproar Festival and opening gigs for Sevendust, Lacuna Coil, and Crossfade among others. Their tour with Sevendust was the start of a friendly working relationship with Sevendust’s drummer Morgan Rose, who signed on to produce Demons. Their goal was to capture the band’s “live” sound.

“Demons” opens the EP with a bit of electronica and booming bass. Jamie Morral plays a dynamic bass that becomes the backbone of Candlelight Red’s music, and he coordinates very well with drummer Brian Dugan and guitarist Jeremy Edge. A more somber and brooding rhythm line that fades into a slick quiet passage opens “Cutter,” allowing Dugan’s drums and Ryan Hoke’s vocals to lead for the rest of the track. Hoke can sing cleanly and moments later drop into a full-on bellow while always remaining understandable and expressive. “Lifeless” is a bitter song with a heavy goth influence. It starts out soft and mellow, but quickly becomes an intense tune driven by Hoke’s powerful vocals and Edge’s sweeping guitars. “Sleeping Awake” is the showpiece of the release, featuring Hoke’s finest vocals and strong harmony support from Edge and Moral, and great bottom end rhythms from Dugan and Morral. The music is superb and subtly supports the tone and emotion of the lyrics, and each band member has chance to shine.

Demons is a fine EP and give the listener an insight into Candlelight Red’s overall musical psyche. They cover all the bases from intense and dark to subtle and ballad-like, and do it all well. The boys in the band are undoubtedly talented, enthusiastic, and technically proficient. They work well as a team, writing interesting songs with compelling lyrics, and deliver them with enthusiasm. Nicely engineered and easy on the ears, Demons will surely win the band an even greater following.

If you are not familiar with Candlelight Red, you should be – as they are definitely a band to watch.

Recommended!

Genre: Melodic Hard Rock

Band:
Ryan Hoke (vocals)
Jeremy Edge (guitar, vocals)
Jamie Morral (bass, vocals)
Brian Dugan (drums)

Track Listing:
1. Demons
2. Cutter
3. Lifeless
4. Sleeping Awake

Label: Imagen Records

Website: http://www.candlelightred.com

Hardrock Haven rating: 9/10

Asia | XXX

by Nikiforos Skoumas
- Columnist –

Any conversation on the subject of reformed bands that have lost none of their creativity should head straight for Asia. Asia, the British melodic rock group founded by former Yes members Steve Howe and Geoff Downes, set the foreground for ‘80s melodic rock with their hit single “Thrill of the Moment” effectively transcending from progressive music to a widely appealing style of rock. Fast forward thirty years and the band have just put out their 12th studio album titled XXX (a symbolism of the three decades Asia has been in existence).

XXX is the third studio album to come out of the reformed original line up of singer/bassist John Wetton, keyboardist Geoffrey Downed, guitarist Steve Howe and drummer Carl Palmer, also marking their third studio release under Frontiers Records.

Let’s get this out of the way, XXX shows no evidence of Asia slowing down, featuring far more confident performances than the ones found on Phoenix and even more cohesive songwriting than Omega. The majority of the songs found on XXX make direct reference to the musical approach of their second album Alpha, where the prog element was reduced to the minimum in favor of melody/chorus driven songwriting. So you can expect that XXX wastes no time and engages the listener in a melodic rock combo from the opening power-rocker of “Tomorrow the World;” the protestant “No Religion;” the ultra-white “Faithful;” the subtle-dramatic “I Know How You Feel;” and the melancholic “Face on the Bridge,” are all perfectly identifiable Asia melodic rockers. Once again the keyboards carry the vast majority of melodies and complementary harmonies while the base sets the tone of each song along with the unmistakable vocals of Wetton while Plamer and Howe further color the songs with their rhythmic/melodic input.

Truth be told, to the experienced Asia fan, XXX might come out as somewhat formulaic; yes the songwriting is stellar, but it rarely challenges or complicates matters for the listener. Still, for the majority of melodic rock fans, the perfectly defined keyboard harmonies, the clever verses and the well-rounded choruses should prove more than enough to play the new Asia any number of times. Once you get past the fact that XXX holds no technical surprises from a prog fan’s perspective one is left with a top notch melodic rock album, and that is exactly what you would expect from Asia in 2012.

Genre: Melodic Rock

Line up:
John Wetton – Lead Vocals, Bass, Guitars
Steve Howe -Guitar, Backing Vocals
Geoff Downes – Keyboards, Backing Vocals
Carl Palmer – Drums, Percussion

Track Listing:
1. Tomorrow The World (6:47)
2. Bury Me In Willow (6:01)
3. No Religion (6:36)
4. Faithful (5:37)
5. I Know How You Feel (4:53)
6. Face On The Bridge (5:59)
7. Al Gatto Nero (4:36)
8. Judas (4:43)
9. Ghost Of A Chance (4:21)

Label: Frontiers Records

Website: http://www.originalasia.com/

Hardrock Haven Rating: 8.5/10

Jay Parmar | Circle of Fire

by John Kindred
Staff Writer –

Jay Parmar returns with his sophomore studio release titled Circle of Fire on Steve Vai’s label Digital Nations.The album follows up his 2005 debut release, Strange Day, and tracks his musical progress and growth over the last seven years. Although it seems like quite a stretch in between releases, Parmar has been busy with building his studio, writing and demoing this forthcoming release and touring as second guitarist in the band Eden’s Curse in 2009. That tour produced a live album, Condemned to Burn, which featured Parmar on two of the recorded songs.

Parmar finds himself in great company on Circle of Fire. His hard work and networking ability has led him to becoming friends with fellow musicians Carsten Lizard-Schulz (Evidence One/Paradise Inc), Andreas Novak (House of Shakira/Mind’s Eye), Pete Newdeck (Eden’s Curse/Tainted Nations), Tim Wallace, Mike Rotella and guitar legend George Lynch, all of whom contributed to Circle of Fire. And, as all of Parmar’s friends and fans know, George Lynch is a good friend and inspiration to the guitarist.

The core of Circle of Fire is built around the original arrangements written by Parmar. He worked with Pete Newdeck to arrange and record the foundation of the music. Newdeck handled the drums, while Parmar provided the bass, keys, rhythm guitar and his lead solo tracks. From there, each of his “guests” continued to bring the music to life, contributing lyrics, vocals and additional guitar solos. Circle of Fire comprises 12 songs, all of which maintain a cohesive vibe even though different vocalists sing throughout the CD.

Although the inspiration may come from his influences, Parmar pushes forward, letting his voice be heard compositionally and vocally. The music is melodic hard rock, and the vocalists reflect this as they perform melodic and catchy vocal melodies. Newdeck and Schultz handle the majority of the songs, while Novak only is the featured vocalist on “Test of Time,” Wallace appears on “Harm’s Length.” Parmar makes his singing debut on “When Angel Cry.” Circle of Fire delivers great all-around vocals from everyone involved. At times, they fall in between the AOR and Melodic rock world, almost pushing into the ‘80′s stadium-rock-arena on several occasions.

There is no getting around the fact that George Lynch has had a major influence on Parmar’s own guitar style. He won’t deny it. You can hear it within the context of his rhythm guitar work, but it is more evident in his solos. His legato phrasing, attack, harmonic squeals and guitar sound pull a lot from Lynch. It would be bad if he did a poor job of it, but Parmar is extremely accomplished. It’s almost as if the torch is being passed from one legend to the next generation of shredders. Hopefully, as Parmar continues to write and record, his lead guitar work will evolve into a signature style that is all his own. For now, he nails it song after song.

Parmar and Newdeck build a solid foundation for the 12 songs that comprise Circle of Fire and deliver inspired, melodic hard rock bliss. Rotella and Lynch, both, deliver amazing fret board acrobatics alongside Parmar. The slick production magnifies the high caliber of musicianship that comprises Circle of Fire. Unlike a lot of independent artists out there today, Jay Parmar has taken the time to learn his craft, with his guitar and in the studio, before unleashing himself on listeners with sub-par studio albums. His approach and music is a mature and confident. This is reflected on Circle of Fire in his songwriting ability and the quality of professional musicians who brought the album to life.

Highlights: “Hell Is The Place,” “Walking In Circles,” “Dragon,” “Circle of Fire”

Genre: Melodic Hard Rock

Line-up:
Jay Parmar (g)(b)(k)(v)
Pete Newdeck (d)(v)
Carsten Lizard-Schulz (v)
Tim Wallace (v)
Mike Rotella (main solo on “Hell Is The Place”)
George Lynch (intro/main solo on “When Angels Cry”)

Track Listing:
1. Walking In Circles
2. You’re Not Alone
3. Test of Time
4. Lost In You
5. Now You’re Gone
6. Hell Is The Place
7. Stop Laughing
8. Guilty
9. Harm’s Length
10. Circle of Fire
11. The Dragon
12. When Angels Cry
13. Circle of Fire (Single)

Label: Digital Nations

Web: http://www.jayparmar.com/wp/

Hardrock Haven rating: 9/10

Shear | Breaking the Stillness

by Mark Allen
Staff Writer –

Much like sitcoms and slasher flicks, modern female-fronted metal bands tend to follow an established formula, leading to an overall sense of ex-changeability within the genre. Sometimes it is impossible to shake the feeling that if you’ve heard one beautiful bombshell belting out breathy, operatic vocals atop chugging riffs, ephemeral keyboards, bombastic drums, and Pro-Tooled production, you’ve heard them all.

With Breaking the Stillness, their first full-length album (following a previously-released EP), Shear had a chance to break out of the mold a little bit, do something a little different and perhaps receive some appreciatively raised eyebrows from the metal community rather than the indifferent shrugs that so often greet new releases in this genre. Alexa Leroux is an extraordinary vocalist who can sing circles around most of her contemporaries, and yes, that includes Charlotte Wessels (Delain), Annette Olzon (Nightwish), and Amy Lee (Evanescence). The music focuses a little more on hard rock and power metal chops rather than the Gothic bombast so many other female-fronted metal bands indulge in, although to be fair, Shear incorporates these elements as well, just to a lesser degree. Add to this an impeccable production and engineering job that expertly synchronizes the band’s multi-layered musical approach and you have a recipe for success. So why does Shear leave the listener blasé rather than blissful?

In a word, the songs. Okay, that’s two words, but you get the drift. The songs just aren’t that special and all the pulverizing power chords and vibrant vocals and exquisite engineering in the world cannot compensate for this flaw. For all its assets, Breaking the Stillness is ultimately a frustrating listening experience, because you get a tantalizing sense of just how great the album could have been. You want it to be awesome, it should be awesome, but in the end it misses the mark, gutted by dull hooks or even no hooks at all. Shear are superior in so many ways to so many other bands in the genre, just not in the way that matters most. They commit the cardinal sin of failing to deliver songs you care about, and for a rock or metal band, that transgression is unpardonable.

That said, while the album as a whole is a hollow listening experience, there are a few songs that merit more than ambivalent dismissal. “In Solitude” is a ferocious composition with the guitars and drums punishing the soundscape, leaving the keys whimpering in the background like slaughtered lambs while the heavy metal train tears up the track on its way to a solid chorus. Further down the line is “Stillness,” which demands patience at first but then slams into gear and punches you in the face like a sonic fist, hitting hard and sending your head reeling in all the right ways. Rounding out the trinity of acceptable tunes is “No Way Out,” probably the purest metal song on the album, bursting from the gate like a hard-riding steed hell-bent on a kamikaze death-charge and God help anyone who gets in the way.

This album is like a gorgeous woman with a hideous scar jagging down her face from crown to chin. Sure, you can force yourself to see past the obvious flaw to the beauty that lies beyond, but even with that beauty in the background, you will still see that scar every time you look at her. This album has a stellar vocalist, top-notch metal chops, and polished production, but its scar is the lack of memorable songs. There is serious potential for this band to reach the pinnacle of the female-fronted metal genre, but they need to perform cosmetic surgery on their scars next time by writing sharper hooks. If they pull that off, they might very well create a masterful piece of metal art capable of stilling the tongue of any critic.

Genre: Female-Fronted, Melodic-Power-Symphonic-Gothic-Metal

Band:
Alexa Leroux (vocals)
Mikael Gronroos (guitars)
Lauri Koskenniemi (guitars)
Lari Sorvo (keyboards)
Juhana Karlsson (drums)

Track Listing
1. The Awakening
2. In Solitude
3. Scorched
4. Someone Else’s Eyes
5. Wounded
6. Redemption Awaits
7. Stillness
8. Crowned By Fools
9. No Way Out
10. Be Here Now

Webpage: www.shearofficial.com

Label: Lifeforce Records

Hardrock Haven rating: 6/10

Crow 7 | Symphony of Souls

by Mark Allen
Staff Writer –

This German band has coined a catchy tag for their style of music: ProMeRo, which stands for Progressive Metal-Rock. It’s a memorable descriptor designed to announce their presence as a hybrid band that incorporate several different genres into their sound (besides progressive, metal, and rock, the group also mixes in modern rock, dabbles in death metal, and slips in some symphonic subtleties). Unfortunately, the acronymic tag is better than the actual music.

The press release claims Crow 7’s sound resembles “the good old rock of the ‘80s.” Yeah, well, McDonald’s can claim their Big Mac tastes like filet Mignon, but that don’t make it so. This album has as much in common with ‘80s rock as Paris Hilton has in common with a starving street urchin. What this album really sounds like is progressive rock slathered with the slick, beefy production so popular today peppered with some death metal growls to increase the intensity and up the modern metal appeal. Hard rock and power metal chops also come out to play once in awhile, but at its core this is modern prog with about as much interest in the ‘80s as the Pope has in exchanging his rosary beads for anal beads.

The musical mash-up Crow 7 attempted is laudable, even if it must be considered a failure. So many artists are content to cower in the comfort zone and crank out exactly the same thing as a thousand bands before them, so kudos to Crow 7 for having the guts to go against the grain and attempt something adventurous. The problem lies not with the innovative concept itself, but in the execution of that concept. While the members are all very skilled and the production is impeccable, there is an absence of energy and a hollow void where the hooks should be. With its tendency toward brooding seriousness, the progressive metal genre sometimes struggles to hold listener interest, and this is a struggle that Symphony of Souls fails to overcome due to a scant supply of interesting songs.

But “scant” does not mean “absent.” Sift through the endless supply of tracks. Seriously, fifteen tracks is overkill—and you will uncover a handful of decent songs. “Street of Slaver” and “The Guide” both sport solid enough chorus hooks to make them stand out, though “solid” should not be confused with “good.” Sure, these songs are more listenable than the other dullards on the album, but that is damning with faint praise. Joining them in the “solid” category is “Dirty Lies,” a rocking mid-tempo number that avoids slavish commercialism by adding a progressive touch to the chorus as well as some growled backing vocals. “Breed of the Crime” brings some appreciable metal credibility to its sonic output despite the symphonic keys and violins accentuating the back of the mix, while “The Final Ride” brings a burst of double-kick adrenalin. Still, even if all these songs are awarded a passing grade, there are still ten songs remaining, and few people will be satisfied with that kind of lopsided ratio.

Symphony of Souls strives to be all things to all people and ends up satisfying none. Credit to the band for daring to do something different, but the cool idea is crippled by flawed execution and a disjointed approach to too many broad genres. The prog practitioners won’t appreciate the death metal dynamics. The hard rock crowd will be bored by the long songs and lack of catchy hooks. The heavy metal component doesn’t make an appearance often enough to satisfy the headbangers and the growled vocals do not offer enough compensation. And the symphonic elements are too much of an afterthought to impress that demographic. The band may describe themselves as ProMeRo, but a better phrase would be “jack of all trades, master of none.”

Genre: Progressive, Modern, Melodic, Rock, Metal

Band:
Corbin Eved (vocals, guitar)
Seth Aban (guitar)
Gideon Vanth (bass)
Janus Mantus (drums)

Track Listing
1. Symphony of Souls
2. Street of Slaver
3. Shiva Sigh
4. The Guide
5. Kingdom of Calm
6. Spawn of Evil
7. Dirty Lies
8. Virtual Reality
9. Great Spirit
10. Winter Breeze
11. Breed of Crime
12. Ocean of Fire
13. Winner of the Quest
14. The Final Ride
15. Where Do We Go Now

Label: SAOL

Web: www.crow7.de

Hardrock Haven rating: 6/10

Toby Hitchcock | Mercury’s Down

by Mark Allen
Staff Writer

Before listening to this album, you should probably make an appointment with a dentist to have your mouth wired shut, because there are moments on Mercury’s Down that will drop your jaw to the floor unless you take prior preventative precautions. The album as a whole is not quite perfect—despite the hype, there are a few songs that flirt with a formulaic sound—but the bulk is as flawless as an airbrushed Playboy centerfold.

Of course, what else would you expect when you pair the masterful voice behind Pride of Lions with the razor-sharp songwriting/production skills of the man behind W.E.T.? The melodic rock marriage of Toby Hitchcock and Eric Martensson was the proverbial match made in Heaven and the results are pretty close to divine, at least for fans of crisp, clean, hook-and-harmony-drenched melodic hard rock.

And make no mistake, this is melodic hard rock. The pedigrees of the players would make you expect some AOR, but they have cranked everything up. It’s not metal—you will not mistake this for the latest Cannibal Corpse opus—but it definitely sports a heavier edge than we have previously heard from Hitchcock and Martensson. Sure, there is an abundant keyboard presence as well, but it plays second fiddle to the dominant guitars in near-perfect balance.

What is also perfect is Hitchcock’s vocal performance, which seals his position as one of the greats, with a style that rests comfortably between Jeff Scott Soto and Lou Gramm. Hitchcock nails every song—even the handful of sub-par tracks are rendered more palatable by his rich, powerful singing—and gives full vocal incarnation to the massive hooks and harmonies, fleshing them out in shining fashion with the support of Martensson’s immaculate production and musicianship.

The album’s opener, “This is the Moment,” is one of the finest melodic hard rock anthems of the year, featuring an urgent chorus slathered with more harmonies than barbecue sauce on a rack of ribs. And so it goes song after song. Even the fillers really do not qualify as such, because on most other albums they would be considered highlights. It’s just that they pale slightly in comparison to the other gems between which they are sandwiched. With so many songs achieving stratospheric quality, you almost feel unjustifiably disappointed when a song settles for a stiff jab to the ears instead of a knock-out blow. Thankfully, those fillers (and apply that term loosely) are few and far between.

As for the standouts…let’s just say that Hitchcock and Martensson supply a nice variety, from hard-hitting rockers like “I Should Have Said” to heavy-edged monsters like “Tear Down the Barricades” to bombastic power ballads like the Winger-esque “One Day I’ll Stop Loving You.” Really, there so much good stuff on here that any melodic hard rock lover should just grab a box of tissues and some lotion, sit back and enjoy the sonic ride, and prepare to fire up a cigarette when it’s finished.

There is no denying that Mercury’s Down is a top-tier melodic hard rock album with a superb performance from Hitchcock that proves him to be one of the premier vocalists on the scene today. It’s bursting with melody like an overstuffed sausage skin, the hooks fly at you faster than bullets from an M-16, and there are enough slick harmonies to make Nelson or Def Leppard nod their heads in approval while trying to conceal the jealous glint in their eyes. If that sounds like the sort of thing that gets you all hot and bothered, then you’ll probably need to take a cold shower after listening to this one.

Genre: Melodic Hard Rock

Band:
Toby Hitchcock (vocals)
Eric Martensson (all instruments)

Track Listing
1. This is the Moment
2. Strong Enough
3. How to Stop
4. Let Go
5. One Day I’ll Stop Loving You
6. I Should Have Said
7. If It’s To Be (It’s Up To Me)
8. Just Say Goodbye
9. Summer Nights in Cabo
10. Tear Down the Barricades
11. A Different Drum
12. Mercury’s Down

Webpage: www.frontiers.it/album/4910/

Label: Frontiers Records

Hardrock Haven rating: 9/10

Lionville | Lionville

by Nikiforos Skoumas
Staff Writer

Lionville is the AOR project of Italian singer/guitarist Stefano Lionetti issued by Avenue of Allies. Lionville, an Italian AOR super-group at its own right, features musicians with far superior CVs than that of their founder; beyond Lionetti. Lionville features seasoned keyboardist Alessandro Del Vecchio (Edge of Forever, Eden’s Curse) and Work of Art lead singer Lars Safsund. Lets not forget the rhythm section of Pierpaolo Monti and Amos Monti, the two musicians that put together one of the largest all-star AOR projects last year, Shining Line.

With additional contribution from session musicians as well as the collective abilities of the musicians involved, Lionville has every potential for success. Those who have followed the careers of the musicians mentioned above know that the will be hard pressed to name one bad album in their collective discography. Lionville as expected retains the high musical standards any melodic rock fan would demand from such a cast.

Lionville set out to deliver top quality AOR/melodic rock and that is exactly what comes out of the speakers when one plays this debut album. It has to be addressed that this is as authentic an AOR album as it gets. There is no hard rock no glam metal, not even the slightest trace of heavy metal on Lionville just clear and unblended AOR/melodic rock, a fact that only verifies how focused these musicians are on meeting their objective.

The flow of the album is very natural, bringing to front a good mix of tempos while remaining consistent on large melodic lines; whether these may come from the guitars, keyboards or vocals. Lionville music sounds unforced, though technical at the same time, forcing the listener to consider that there is not much one could do to improve the featured art. It is probably true that a stellar AOR album needs to sound subtle and intense at the same time an example of this is the powerful “Thunder in My Heart” an up tempo tune filled with shredding guitar and still very adult-oriented. “Power of My Dreams” has the quality of a radio mega-hit and then of course comes the male-female vocal duet of “The Chosen ones” (featuring Arabella Vitanic) which is bound to give Huston a run for their money. One also needs to mention the Journey-esque “Dreamhunter” and the ballads “World Without Your Love”, “Over and Over Again” and “Centre of My Universe” which makes the self-titled album all the more complete and interesting.

Lionville are definitely not about stylistic originality, instead they come out as musicians who have mastered AOR and their potential at that seems limitless. One could spend days obsessively trying to find Lionville’s weak spot but there is no such. Although Lionville should appeal to any fan of melodic rock and hard rock, it seems that it is better suited to the most demanding and experienced of AOR enthusiasts who will definitely make the most out of this impeccable album.

Genre: AOR/Melodic Rock

Band:
Stefano Lionetti: Lead & backing Vocals, guitars
Lars Säfsund: Lead & backing vocals
Alessandro Del Vecchio: Keyboards & backing vocals
Pierpaolo “Zorro11″ Monti: Drums & percussion

Track List:
Here By My Side
With You
Centre Of My Universe
Thunder In Your Heart
The World Without Your Love
Power Of My Dreams
No End In Sight
The Chosen Ones
Over And Over Again
Dreamhunter
Say Goodbye

Hardrock Haven rating: 9/10

M.I.C. | 3rd Degree

by Joe Mis
Staff Writer

International rockers M.I.C. (Made In China) have recently released their third studio album, entitled 3rd Degree. This quintet of talented performers plays music that spans genres from early ‘80s classic rock to modern power-pop and delivers 12 tracks of pure fun. Like a summer “popcorn” movie, you don’t need to take them too seriously or think hard about their music or message as their material harkens back to a simpler time. This album is simple, basic rock and roll.

Fronted by Canadian singer/songwriter/guitarist Yvon Serre, M.I.C. delivers radio-friendly, inoffensive and consistently upbeat rock influenced by classic rock acts from AC/DC to Green Day. The band’s roots stretch back to 2004 when Serre spent some time touring China, and M.I.C. released their first album in 2008. After some personnel changes the group released a follow up album in 2010, and now presents 3rd Degree in 2011. Despite numerous lineup changes, the band’s basic sound has remained the same — kind of like Van Halen meets the Romantics.

Serre has a decent voice for the music, a bit dry and somewhat raspy. He uses it well and stays nicely within his natural range, but has a tendency to yell “Wooooo! Yeah!” just a bit too often. He is a decent guitarist, laying down some big hooks and catchy rhythms — and he can hold his own during the relatively short solos. Serre has also done the majority of the songwriting for the band. He is ably backed up by Japanese bassist Uchida Yuuji and British drummer Tommy Burke, and the three of them are the real core of the band. Yuuji is an amazingly talented bass player and the album’s mix brings his bass lines to the fore. Burke is a solid drummer, not overly flashy and always in control. Slightly less obvious are the contributions of keyboard player Dave Smith and vocalist Angela Renzetti. Both are also very good at what they do, but not every song features keys or female vocals.

Big guitars and bouncy bass open “Always On My Mind,” and there is a definite Van Halen feeling about the track, particularly during the chorus. Yuuji’s bass drives the very poppy (think “head-bobbing” instead of “head-banging”) “What You Do To Me.” “Barbie Lady” is a very pop-rock tune featuring some of the best guitar work on the album and some rather contrived rhymes in the lyrics (e.g. late / Kate / mate / great). “I Am Ready” is a fast old-school bluesy rocker, and would be a great party anthem, while “My Baby’s Going” is a bass and drum driven slow rocker with the best vocal performances on the release. “Judy Don’t Go” is a solid guitar driven piece with a great hook and a sing-along chorus.

Mellow keyboards, great drum work and duet vocals by Angela Renzetti and Serre are the highlight of “I’ll Be Back,” while a really cool Dokken-esque rhythm line kicks “I Want To Live” nicely along – Serre sounds vaguely like Eddie Money on this one. “Off The Throne” is a gritty blues rocker with a strong bass line. “Teenage Rock Star” sounds exactly like one would expect from the title – a little tedious at times and borderline “happy rock”. “It’s Been A While” is another bass driven pop rock track, while “The Only One” closes out the CD as a nice mid-tempo rocker with a kicky bass / drum line.

Nicely mixed and engineered, 3rd Degree is easy on the ears. The vocals and instruments are well balanced and clear throughout, and the bass is prominent but not dominant, emphasizing the rhythm lines without being a distraction. No one performer takes over the music (although Yuuji’s bass talents come close), and the CD as a whole has a warm and natural tone. The songwriting is acceptable, but not spectacular, and some of the lyrics seem “empty” and rhymes forced as is the case with many pop songs, but everything on 3rd Degree is done with enthusiasm so these little flaws are easy to overcome.

M.I.C.’s 3rd Degree should appeal to any fan of classic 80s rock or pop rock. There are no dark themes, creepy lyrics or negative concepts here; it is good-time, upbeat rock music for music’s sake. If you want something light that is easy to hum along to then this is the album for you. If you want heavy, definitely look elsewhere. Like a good summertime movie, you can sit back, turn off your analytical mind and just listen. Toe-tapping is heartily encouraged!

Genre: Melodic Hard Rock

Band:
Yvon Serre (vocals, guitar)
Angela Renzetti (vocals)
Tommy Burke (drums)
Uchida Yuuji (bass)
Dave Smith (keyboards)

Guest musicians: Scarlet Rose (violin on “Barbie Lady”), Guang Er (keyboards on “I’ll Be Back”)

Track Listing:
1. Always On My Mind
2. What You Do To Me
3. Barbie Lady
4. I Am Ready
5. My Baby’s Going
6. Judy Don’t Go
7. I’ll Be Back
8. I Want To Live
9. Off The Throne
10. Teenage Rock Star
11. It’s Been A While
12. The Only One

Label: Independent

Website: http://yvonserre.com/mic/

Hardrock Haven rating: 7.5/10