Review: Van Halen - A Different Kind of Truth

 Sadly, the resurrection of rock music and arena conquering golden age for heavy metal that emerged in the late 1970s and early 1980s is something I will never be able to be truly reminiscent of, or be able to look back and think "Ah those were the good old days." Having been born in 1995, I was born at a time in which nu metal was starting to take it's rise to mainstream popularity, and looking back, I would hardly say that's something to be proud of. It's quite obvious however that if I had been in the generation of older rock fans that did live in these magical times, one of the standout acts we would all look back lovingly on would be Van Halen. When you hear the guitar shredding from Eddie Van Halen on Eruption, the second track from the band self-titled album, it really allows you to see the sheer influence the group has had on pretty much every metal band that followed (with the exception of the doom metal genre) and realise why Eddie Van Halen is so respected among metal guitarist for his revolutionary style. Anyway, until 1984, the band were at their biggest and their best with the godly guitar playing from Eddie Van Halen and the charismatic performance of lead singer David Lee Roth  both sharing the limelight of their performances. Following Roth's 1985 departure, the spark of charisma this band had could never quite be gained again.

 It is for this reason that the band is starting to gain that bit more excitement once again. It's been fourteen years since an album was last released and this time, Roth is back on board, as Eddie still remains on guitars and brother Alex Van Halen remains drumming and this time Eddie's son Wolfgang Van Halen has been brought in on bass. It is this return of Roth though and the return of the original swinging charisma within the band however, that makes 12th album A Different Kind of Truth so triumphant. Rightfully so, as this album is effective in recapturing the spirit of '78 with all members of perfect form as Eddie's outstanding shredding and hook filled riffs create an immense backdrop for She's the Woman while Roth's sly vocal performance, mixed with Wolfgang's crunching bassline and Alex's pounding drumming comes together effortlessly to make a song which spells out heavy metal perfection, which carries a genuine sense of energy and passion.

 A Different Kind of Truth is clearly an album with the original and most devoted fans at heart. It is very much the sound of the the late 70s-early 80s era of hard rock and metal and of course, there will be complaints that it sounds dated, but there's very much a sense of grace and untimely fun to be found in this style. Roth's slick vocals manage to keep the punk velocity of China Town and Bullethead sounding classy, while the rest of the Van Halen family are tearing things up. Plus, the term "blues metal" isn't actually a real musical genre but the bluesy emotion packed performance of Roth mixed with the intense rush seen on As Is serves as evidence that such a term probably should exist.

 Of course, within this punk flavoured delirium, the poppy hook filled moments of Van Halen's music is  to be found with tracks like Tattoo and Big River boasting massive choruses and danceable rhythms amongst the shredding solos and powerhouse singing. And all the elements of this band come together of the triumphant closer Beats Workin', a song that really boasts a sense of musical victory and accentuates the power and legacy of Van Halen.

 Overall, A Different Kind of Truth is like a graceful look back to the past of heavy metal by the band that are responsible in bringing the genre to the masses. It's a fun, joyful listening experience filled with giant hooks and rhythms and the definitive rapid shredding of Eddie Van Halen and powerhouse vocals of David Lee Roth. It's a sad fact of life that in the current state of nostalgia in popular culture, the most well-remembered Van Halen song is the embarrassing bloated synth rock mess that is Jump but it's great to see this being put out the way for some great heavy metal tunes instead. If this reunion doesn't put them right at the top where they rightfully should be, this comeback album definitely puts them right back into the hearts of all good rock and metal fans everywhere.

 Van Halen's A Different Kind of Truth is out now via Interscope.

Review: Young Guns - Bones

 When shining High Wycombe quintet Young Guns first introduced to themselves to the world properly with 2009's Mirrors EP and 2010's All Our Kings Are Dead, they proved themselves to be a band with the capability to play rapid hard rock with a glossy hook-filled edge and a certain anthemic quality fitting in with the punk-like velocity, which is quite a rare feat musically. Sophomore effort Bones sees the group take this bold anthemic and hooky element to greater levels and ultimately creating a set of strong rock anthems. The type that could light up any stadium, without sounding like they've sold out.

 Maybe 2010's experience of playing sold-out arenas when supporting Bon Jovi has some kind of effect on the group and has encouraged them to become greater rock monsters. If this is the case, I'd say that they've done it pretty well, because an influence from Bon Jovi could go horribly wrong. I should explain now that my title of being a "rock fan" could be at risk because I absolutely can't stand Bon Jovi. To me their music just drags on and on to the extent that it becomes painful and I can think of little other social situation to be in as painful as being in a crowd gleefully chanting along to Livin' On a Prayer. It's an experience that drags along to the extent that I feel like I've lost at least five years of my life afterwards. What makes Young Guns so enjoyable is their ability to keep these these stadium rock anthems sounding fresh and gripping. They do this by injecting a post-hardcore velocity and energy into tracks like I Was Born, I Have Lived, I Will Surely Die and Brother In Arms which adds crunching jagged riffs to the giant hooks and stadium friendly grandness.

 That being said, Young Guns clearly display an ability to create massive hard rock anthems without the need for any kind of genre crossing here, as ballads like Bones and You Are Not are packed with emotion and hard rock perfection, as the vocals of frontman Gustav Wood have a sense of warmth and wisdom that makes tracks like these more awe-inspiring.

 We also have a chance to hear the group's efforts in revealing the true intricacies of their music and the layered textures from wailing background guitars and industrial synthesizers found in tracks like A Hymn for All I've Lost and Everything Ends, which reveal an extra creative and extra detailed work gone into album and production work of Dan Weller con only be complimented. This detailed soundscaping nature of Young Gun's music is heard best in brooding closer, Broadfields a ballad of missing the comforts of home and the hardships of loss and growth.

 So, more mature but still as energetic and hook-filled before, with the addition of more fist-pumping choruses designed to rock stadiums across the world, Young Guns display an ability to make prime, expert hard rock with a greater anthemic nature, while maintaining old post-hardcore mentalities and keeping riffs heavy and biting and emotions tight. If Young Guns are trying to become the biggest rock band in the world, the this collection of blazing and wise songs is very likely to take them one step closer.

Young Guns' Bones is out now via Live Forever Records. The band will tour the UK in March with Enter Shikari and Tek One. 

Review: Mark Lanegan Band - Blues Funeral

 Maybe it's just me here, but my first encounter of the captivating gravelly voice of Mark Lanegan was in his collaborations with Queens of the Stone Age on 2002's Songs for the Deaf, as he unleashed these rich rough and bluesy tones on A Song for the Dead. On that song, he tells listeners "C'mon, let's go drivin'." And of course the imagery of taking a drive with someone with a voice as awesome as the one singing just seems to be an image that is the epitome of cool, as well as an image showing that in later life I probably shouldn't talk to strangers on my own. Anyways, after hearing him performing with Josh Homme, Nick Oliveri and Dave Grohl, I checked out his former days as frontman of grunge masters Screaming Trees and his other solo material and was amazed by the passion and soul that Lanegan put into his performance across these works. Better still that on Blues Funeral, Lanegan's first solo release in eight years, this sense of soul and poetic creativity has gone nowhere.

 The album sees Lanegan use his poetic charm in it's darkest manner, taking a lyrically poetic and grand look into the cold and unforgiving world of death, so the coolness he displayed with QOTSA is exchanged here for a blues-filled charm with an ultimate sense of somberness as Lanegan's blues-injected voice which is amazing in both howling and gristle gives tracks likes Bleeding Muddy Waters and Phantasmagoria Blues an extra depth into the mature and sophisticated lyrics of despair and mournfulness.
 Musically Lanegan manages to bring together a range of different styles and influences and create an artful and emotional impact with all of them. The style varies from Gray Goes Black's post-punk rhythm with synthesized backdrops, carrying a reminiscence to Joy Division, who Lanegan cited as an influence on the album, to the harder frenzied distorted grunge riffathon found on Riot In My House, sounding more akin to Lanegan's days in Screaming Trees, to the much more rapid and joyful Quiver Syndrome which in it's buzzing synthesizers and fast paced riffs carries more of a shoegaze influence. It's probably the most uplifting song on the album, although there wouldn't be much competition.
 The overall musical influence found is a psychedelic one of sweeping synthesizer backdrops and dwindling basslines to create a more spaced out and grand atmosphere. In the album's constant looking at themes of despair and darkness, a fairly gothic influence can be identified, albeit matured upon and given a classier makeover so it does feel more like extremely manic blues. However, this is entirely effortless in creating an atmosphere of gripping beauty throughout.
 Overall, this is an album worth checking out if you want to hear something with a mellow and melancholic atmosphere but till sounding incredibly fresh and awe-inspiring. Mark Lanegan's vocals are simply epic in their bluesy charm and are effortless in characterizing the album's prominent sense of woe and misery. And with a wide range of musical influences, from gothic dance to desert rock, every song is a new experience of overwhelming beauty. Really, this album is successful in presenting an emotional view of death and despair as it does so in a way that is permanently breathtaking.

 Mark Lanegan Band's Blues Funeral is out on the 6th of February via 4AD. Lanegan will tour the UK in March.

Review: Famous Last Words - Pick Your Poison

 Generally, the view towards the constant rise of metalcore bands with poppier and greater emo elements to their music is one presented in a negative view. Bands like Asking Alexandria and Of Mice & Men are the kind of bands that are absolutely slated by metal-fans I know from Blairgowrie, who pretty much worship Slayer and Cannibal Corpse, yet the idea of playing them in front of my friends who are turned on by a poppier sound is just unrealistic. Either way, it's a style of music I've found myself getting into pretty quickly. The style of music itself seems to have developed a small fanbase due to it's wide inaccessibility but it's a fanbase that is extremely devoted. Actually, the idea of Asking Alexandria being cult leaders is pretty scary. While some bands try this style of music out and end up sounding annoyingly stupid, there are some other groups that do this successfully and show a wild sense of passion and talent. So depending on your view towards this style of music, you will either adore or detest Michigan quintet Famous Last Words, as their debut EP Pick Your Poison reveals them playing in a style that is totally definitive of this style of music.

 Is this style of music a recognised genre now? Is there such thing as "popcore" being a hardcore take on pop music as we know it? Actually, I hope there isn't that would just be really lame. If there was though, Famous Last Words would truly be the epitome of the style (and I seriously couldn't help but find the painful irony in the fact that one of the Youtube channels that contained videos of tracks from the EP was called "Metal4EverPop4Never") as sparkly trancey synthesizer backdrops and big choruses and melodic hooks are nicely intermingled with juddering guitar breakdowns and aggressive growl vocals.

 The group is clearly trying hard to use this pop music element to it's full potential, constantly adapting on it to make it sound fresh with every new song. (This would be a good chance for me to say that their attempts of making poppier sounding music than most artists in the charts these days, because clearly, as a fan of rock music, I'm meant to display a constant sense of despise towards artists who are in the charts. Yeeeaaah! Come on rock fans!! Let's go destroy Justin Bieber... or whoever it is that's relevant these days. I really don't know who would be anymore!!! Actually, I seriously don't care.) So, the group really open up their box of poppy tricks seen in the pounding trance beats and extremely autotuned vocals that bounce along with driving guitar riffs on the outro to I'll Get You Next Time, Gadget! and the short and snappy vocal cuts which comes in between the furious screams of frontman JT and guitar shredding from Ethan Osborn, seen in the intro of Bob Cox Lives in Ohio, which carries a reminiscence to the cut up guitar sections in Bring Me the Horizon's Visions.

 The group's metal and punk instincts are exercised well across the album as wild breakdowns are found throughout tracks like Starting Over and This Isn't Blackmail, This Is War which switch between being played rapidly and vigorously and slower and more in-depth with a similar amount of bile and brutality being produced. At times, there's an obvious reminiscence to the heroes of this style of music, A Day To Remember but they do make the songs their own in their intense and gripping nature. The more punk-based side of this sees the group sees an incredible array of pop-punk hooks produced. Their pop influence gives these moments a reminiscent of our modern generation of polished production-based pop punk acts like We the Kings and Forever the Sickest Kids. Which I also enjoy, whether that's what the group were looking at is another issue.

 Overall, on listening to this EP, it proves that in this hit and miss world of bands that are mixing metalcore and pop music and gaining a cult following as a result, Famous Last Words are hitters in this world. This slickly produced EP reveals a talent for combining the brutality with the catchy. It shows the group to be a group with a pop based mentality but have hardcore running through their veins. And if they keep this style as fresh and engaging as they have here, Famous Last Words surely have a bright future ahead.

 Famous Last Words' Pick Your Poison is out now via Invogue Records.

Review: ††† (Crosses) - EP ††

 Back in August, I found myself completely entranced and astonished by the ambient and ethereal soundscapes created by ††† (Crosses), a musical side-project formed by Chino Moreno of Deftones fame and Shaun Lopez of Far. I would go as far as to say that their first collection of songs EP † is the finest collection of songs that I've spent no money on, as it was available as a free download. Obviously now it seems that the Sacramento residents have realized how successful this project is and now their trying to cash in on this success by making their follow up EP EP †† actually cost money. Bloody sellouts! How dare they try to make $3.99 for what their beautifully crafted music? Actually, this issue doesn't really concern me at all, because going by the quality of these songs they should be worth a lot more.

 While the first EP was reliant on full attention and focus for the songs to really get into one's head and cause a real emotional impact. EP †† sees this desire for absolute focus loosen a bit, filling various songs here with more hooks and rhythmic passages that one could find themselves dancing to, as tracks like Fron†ier and Prurien† boast giant choruses containing a certain uplifting warmth about them. But this warm nature is seen across these songs as the smooth and ambient synth rock carries with it a dreamy atmosphere which contains a subtle kind of grandeur in their rich textures and layers of gentle and beautiful soundscapes.
 Though the tracks here may appear at a slower and more drawn out pace, there is often a sense of exhilaration and excitement to be found. Listening to Prurien†, the pulsing synth drums was something that just couldn't be ignored and the overall atmosphere of †elepa†hy is one of pure velocity. An influence from Moreno's work in Deftones can be identified mixed with a reminiscence to the various musical works of Trent Reznor.
 The final tracks †rophy and 1987 do present the more melancholic moments of ††† (Crosses) pretty effortlessly, especially 1987, with it's dwindling basslines and haunting vocal performance of Moreno with the repetition of "In the waves a shoebox of ashes/ A silver casket/ A mother dressed for eternities breath" reveals the groups ability to create an unsettling and gripping touch of bleakness and desolation to their music.
 Overall, listening to this EP proves that Moreno and Lopez have managed to impress once again, creating a breathtaking collection of atmospheric and graceful songs featuring lush soundscapes and pulsing performances which creates and hidden sense of grandeur and dreamy wonder throughout. If a full album is released filled entirely with songs such as these, listening to it shall be a very exciting prospect and will certainly be worth paying a lot for.

 ††† (Crosses) - EP †† is out now.

Review: Of Montreal - Paralytic Stalks

 Since 1996, Of Montreal have been responsible for bestowing fans of less-than-down-to-earth music with a truly unique explosion of psychedelic, poppy and just generally quirky and charming alternative rock, that's never short of a sense of general weirdness and trippiness. This has kept them loved by their fanbase of indie pop enthusiasts and *coughs* hipsters for a long time now, and as they reach their 11th album Paralytic Stalks these fans will be happy to know that this weirdness has gone nowhere, rather gathered up together and forcefully unleashed across this album. If this is a style of music you're less familiar with however, prepare for mass confusion.

 And your sense of delight/confusion will kick in from the moment unsettling opener Gelid Ascent begins with a giant layering of bright synthesizers of the cut up vocals of frontman Kevin Barnes, which sound like they are transferred from a seriously tampered-with tape recorder, before transcending into an array of sparkly indie pop with a hook-infested rhythm to go along with it.

 This rhythmically catchy indie pop is present across the album and reveals a return for the band to the major influence from the more psychedelic and trippy work of The Beatles at many points such as the short-but-sweet Malefic Dowry and the brooding Wintered Debts. The feel good pop rock of Dour Percentage actually takes this late Beatles influence further carrying a joyful reminiscence of the solo material of Paul McCartney.

 But of course, despite all this playful attitude, Paralytic Stalks is by no means an album of fun and games, just like the later work of The Beatles saw the Fab Four trying to create an emotional impact in their music while being as experimental as possible, the Georgian sextet? Possibly septet, or even octet. So many different pictures of the group. They show so many different lineups. And at times the music created here is as confusing as this lineup issue here. Anyway, the Georgian... group of musicians that exceeds the amount of musicians found in an average rock band are as experimental as ever Tracks like Spiteful Intervention and We Will Commit Wolf Murder reveal the intricate manner in which they play and it's likely that on listening back various keyboard parts that weren't heard previously will be found somewhere in the endless wall of electronic elements.

 While this ideal is sometimes charming, at times it is simply downright freaky. These moments at first will seem engagingly chilling, however it's a guarantee that if this off-the-wall style of alt rock is something you are unused to you will find yourself curled up and cowering in a corner during the entirety of Exorcismic Breeding Knife screaming "PLEASE, MAKE IT STOP!!" Plus while the final track Authentic Pyrrhic Remission consists of a very chilled out uplifting array of indie rock and a warm melancholic piano led outro during it's thirteen minute course, listeners are presented with a major obstacle in the middle of these pieces of music in the form of an incredibly uncomfortable synthesizer led section has a familiarity and similar uncomfortable-ness to listening to, to use a cliche, someone dragging their fingernails down a chalkboard. It's simply freaky. It reminds me of Tim & Eric sketch It's Not Jackie Chan when one of the players presses the buzzer and never lets go. During this songs middle section I picture his face with his deranged grin turning slowly to the camera and the impending sense of fear arising as a result. Actually I'll be amazed if anyone understands what I'm referring to here. If you do, well done! We both have a completely deluded sense of humour!

 Overall, there are a lot of highs to be found on this album in the form of it's pulsing icy indie pop rhythms filled with hooks and danceable moments. They are very fun and the experimental keyboard and synthesizer moments at these points can be very gripping and fun as well. But the album has it's lows as well and these are moments that are guaranteed to frighten and depress listeners and simply make them feel uncomfortable. So, this balance between the light and the dark is clearly the group's intention and fans of this style of music ought to find themselves in complete ecstasy of this final result. If you're not into this kind of music, chances are you'll just be left in the dark listening to it, not knowing what the hell is going on.

 Of Montreal's Paralytic Stalks is out on the 7th of February via Polyvinyl Record Co. The band will tour the UK in April.

Review: Foxy Shazam - The Church of Rock and Roll

 A church of rock and roll is something I could totally get behind. Rarely a moment goes by when I'm not worshiping it's incredible legacy and sheer simplicity and brilliance. And with their overwhelming bursts of positivity and mass influence from the big hitters of 1970's rock, mostly Queen and Meat Loaf, Cincinnati's Foxy Shazam are ideal candidates to lead this religious revolution. I've heard nothing but positive things about the group so far. A friend of mine (Euan) told me about how awesome he found their onstage performance to be when they opened up for The Darkness last year. (By the way, The Darkness released a new song just today Nothing's Gonna Stop Us. I recommend checking it out. It's crazy good, with a video to match.) So, with the determination to create a new religion and with Justin Hawkins by their side this time as a producer, Foxy Shazam are ready to convert us to The Church of Rock and Roll.

 And this album, is going to preach to us with it's considerable influence from the 70's and 80's up to a maximum level in it's coolest form. The album catches all classic hard rock cliches in glorious and powerful form. There are lots of classy and soulful moments to be found across this album such as in the swinging and flamboyant I Like It filled with the swinging rhythms and bouncy hooks of Aerosmith and in Wasted Feelings, a song which contains a constant contrasting nature with the slick blues rock verses that brings the work of The Black Keys to mind, which during choruses exchanges this subtlety for some grand hard rock played with the theatrical dramatic soundscape that could be easily mistaken for the songwriting of Jim Steinman.
 With the powerful vocal performance of Eric Nally that carries a constant similarity to the magnificent vocals of Freddie Mercury present throughout the album, this sense of grandness is ever present, so it brings a touch of glamour to even the roughest moments of the album, such as the Led Zeppelin-esque The Temple with Loren Turner's guitar skills carrying the bluesy swagger of Jimmy Page. Even when this glamorous hard rock touch is less present, there are tracks like the soothing Forever Together a beautiful acoustic-lead which carries much more of an emotional touch and the soulful ballad Freedom.
 So, this album is essentially paradise for lovers of classic swaggering and soulful rock and roll that has no nonsense and plenty of soul. As well as revealing the powerful performance from all of Foxy Shazam, it also reveals just how talented and slick a producer Justin Hawkins can be, which I'll admit, I wasn't expecting. This album is in fact a very beautiful display of rock and roll that carries a lot of power and heart and if it's a new religion they're looking to start, well, preach away Reverend Nally.

 Foxy Shazam's The Church of Rock and Roll is out now via I.R.S. Records.