Paul Raymond Project Virtual Insanity (2008)
2008, a year before UFO’s ‘The Visitor’ was released, had seen a new offering from Paul Raymond, UFO’s rhythm guitarist, keyboard player and backing singer. The ex-collaborator of Chickenshack, Savoy Brown and MSG, teamed up with guitarist Andy Simmons, and in 2006 they commenced writing for what eventually became ‘Virtual Insanity’. Paul records with UFO and tours with them on a daily basis hence the writing and recording for this album took up two years. Recorded probably in the gaps in the UFO road itinerary, ‘Virtual Insanity’ is a quality, straightforward rock album, full of masterful guitar playing, hooks and melodies as well as multi-layered keyboard work and tasteful vocal delivery from Paul. This album will bring quite an enjoyment for the UFO fan base and will shed more light on Paul Raymond’s solo career for casual rock listeners.
'Edge Of Sanity' could as well cater for a horror film track. Doom and gloom permeates the whole song save for a very melodic chorus and an upbeat guitar solo. This song is in tune with the album cover, which may reminisce the riders of the apocalypse. Almost metal in places, the cut is driven by some Schenkeresque licks. Paul's vocal delivery is spot on. Andy Simmon's command of the guitar is effortless. The riffing appropriately sets the unresting and somewhat dark tone. The keyboard wails an echo as if from the deepest abyss. This all in nearly three minutes, quite an achievement! Edge of Sanity makes its final come back in the shape of reprise as the closing track of the album.
A riff nicked of UFO starts off 'Exorcise the Demon'. The listener is in for a rock and roll ride from the start. It is evident the boys have a ball with the song, and Paul's bar piano resonates on a crunchy riff. The warm keyboard flavours everything with southern rock. Paul's singing is somewhat restrained, but to a great effect. Andy graces the listener with a lyrical guitar passage just to explode into a frivolous, blues-laden guitar solo later on. I dare say, 'Exorcise the Demon' is a tad more captivating than UFO's 'Rolling Man'
Next up is 'Bad Hair Day'. This starts off from a nostalgic acoustic guitar gently followed by a Queen-like piano part. All backed up by Paul's Stewardesque singing. Reminds of The Beatles at times. The chorus carries the melody which aided by Paul's singing is a gelling element here. Andy does not stay hidden and his guitar gets a voice again. Some little psychedelic passages improve the quality of this tune.
'Michael Caine' is a potential hit. Brilliant lyrics include the titles of the films in which Caine starred. Trodding guitar chops are woven into Paul's almost 'happy-go-lucky' vocal delivery, which add up to instantly memorable hooks. To tell the truth, this cut is one big hook and it even features slide guitar. Multi-layered as it is, the guitar solo against these aforementioned metal chops sounds intensely frenetic and brings back memories of the days when NWOBHM was taking shape.
'The Rest is History' is one of the most interesting and influenced by the farthest of pasts cuts on the album. It smells of space rock for a mile. Starts off as an acoustic and is swiftly heated up by an effulgent keyboard part. Paul belts out lyrics full of solitary longings in a soulful manner. It may be assumed, Andy shares some backing vocals or is Paul's vocal simply double-tracked? A Zeppelinesque acoustic solo is counterposed by a rich sounding guitar ride which undoubtedly reminds of UFO's 'Try Me' or even 'Profession of Violence'.
'A Debt of Gratitude' starts off with some cosmic synthesizer sounds, as if stolen from a Sci-Fi movie soundtrack. This merges into a very melodic rocker full of passionate singing. The opening resumes later on, and the bridge has only a gentle acoustic and Paul singing away with style.
Here's an interesting story regarding 'Where's My Bike?', the sole instrumental of the record. Andy came over one day to do some writing (for this album) with Paul. They were doing the writing and the next thing Andy noticed was his motorbike gone. Pissed off, he went home and wrote this excellent instrumental. Guitar duel fueled by some classical obscurities. Let's steal some more bikes that belong to the guitarists!
'Shangri-La' comes up next and features bar piano, jungle sound effects and unique vocal from Paul amongst other things. This is the most progressive cut on the album, which may sound out of place on first listen. It really develops into a thing of peculiar nature and the instruments' interplay is truly captivating. These bar piano parts are particularly manic here. The guitar solo is quite explosive in places and the piano background brings back space rock again for a minute. The orchestral break and recurring piano motive add to that space rock sound a lot, too. An opus of the album for sure.
'Don't Hide Your Love Away' is the cover of Andy Fraser's (Free) song titled alike. The album could do without this cover as it slows down the pace of the record a little bit. Nevertheless, it is performed with style and remains very close to the original. Knowing Paul's Savoy Brown and Chickenshack past the choice of this cover seems obvious. It is less bluesy than the original but retains its quality. With Paul and Andy it definitely sounds more 'in your face' than the original, yet it should have been included as the bonus track since the album loses its momentum with this track for a while.
'Too Late For Love' is a Foreigner/Survivor type of thing combined with melodic guitar hook and thus very memorable. It is also close to pop in some respects. A bit unspectacular track when compared for instance to 'Shangri-La', but does not harm the overall reception of the album in any way.
Ballsy, no-nonsense hard rock returns with a gritty 'No Turning Back'. Driving riff is accentuated by blastering work from the rhythm section with Paul laying down some really rough vocals. Normally, you would not expect him to sing such driven tunes, his voice definitely suits blues and slower songs better. Yet, with this stand out hard rock offering 'Virtual Insanity' really is, Paul Raymond proves he can sing whatever he likes really, and he makes it all much more adventurous than some of his overrated peers.
'Virtual Insanity' was recorded solely at Paul's home studio by Paul Raymond and Andy Simmons. For Paul Raymond it is a chance to stretch out a bit, take a break from UFO, and experiment with different sounds and styles. One minor flaw of this record is that the drums sound rather pedestrian which makes the overall sound lacking in some departments. Yet, these little setback does not take anything away from well thought-out and wisely developed compositions on 'Virtual Insanity'. If you happen to have this album, do not let it gather dust on the shelf. It does not deserve it.
Motörhead-Aftershock (2013)
"Give us the time, and we'll do the crime' – 'Going to Mexico'
Motörhead again hold all the cards at the poker table. Messrs Lemmy Kilimister, Phil Campbell and Mickey Dee keep a straight face, sweat drips from their faces while they are risking the highest possible stake and...
Just two years after releasing the throbbing 'The World is Yours', (I mean who releases albums every two years after nearly 40 years of being in the game), Motörhead cook up a phenomenal, rugged and pert 'Aftershock'. They have played thousands of concerts; the leader being 68 and still his health problems did not prevent them from writing another great album. This sole fact is laudatory in itself.
It is well known that life on the road and the ethos of rock and roll are very demanding beasts, but Motörhead is just fine. From the single Heartbreaker through Lost Woman Blues Blues and the little ballad Dust and Glass, up to the thrash breathing Death Machine or the exciting Keep Your Powder Dry, Motörhead have got them all by the balls at the poker table. It has been like that for years now.
Only the greatest can do that. Motörhead AD 2013 is very loud, very biting and very funky. The band rushes almost without a break through all the songs while maintaining their rock and roll character. Some melodies may evoke Lemmy's solo project 'The Head Cat'. But before about the content of the album a little literary digression.
Musical legacy of the band can be compared to the literary oeuvre of Charles Bukowski. His work is characterised by specific sense of humor, simplicity of the theme (sex, war, booze, good and bad), great emotional heaviness. Similar aspects must come across when one listens to Motörhead. Dare say that if Lemmy sang poems by Bukowski, some would be ready to buy it as his own lyrics. Bukowski lived in Los Angeles resident of which is also Lemmy – maybe it's just about the setting. When you look at his two-bedroom apartment from 'Lemmy' the movie, it looks almost like a scene from a book by Bukowski. I even fear thinking what would have happened if the gentlemen had met up all them years ago. A decent pig's breakfast. Bukowski was a kind of rock and roller of his time, though he avoided rock a bit. But such life suited him and his creation. Lemmy also lives the ethos of rock and roll, which probably suits his fans, his self and his creation.
'I tell you such fine music waits in the shadows of hell.'
So what is 'Aftershock' like? It is daring, melodic and aptly dynamic. Rhythm section rushes like artillery and is hard to stop. The guitar is dirty and in maximum overdrive which pleasantly stuns, funky riffs get under your skin and it is hard to get rid off them. Solos are ear-piercing and are often coasted to the limits of decency. Lemmy's raspy and rugged vocal sound is like iron murderously drawn on the concrete. The bass is prominent to the limit and the line between the bass and the guitar is often blurred. These are the aesthetic properties and elements which we love Motörhead for.
Heartbreaker, the heavy album opener, is 100% material for a single. This sliding riff sounds like a burst of machine-gun fire, aided by a dirty bass and pulsating drum beat. Lemmy shouts himself hoarse and you can tell this is not your lovemaking background soundtrack. This is precisely the point.
Melodic fragments are like the icing on the cake or like ice in a drink on a hot day. Coup De Grace and End of Time is speed limits breaking thrash ride without holding back with elements of rock and roll and a heaviness of Ace Of Spades. In Coup De Grace we have a few mini solos played on the fast riff and the main solo bounces off the motor force of the 1970's. End of Time has a fairly complex guitar work reminiscent of A Gypsy's Kiss by Deep Purple. Lemmy gives the song a further punch with his full of fury almost screamed out vocals.
Lost Woman Blues is the magnum opus and everything starts gently here. Lemmy's singing in low register and convincingly indicates that he sings about going crazy. This wild, juicy blues is only to be delivered by those who had blues around when they were growing up musically. And the song is swinging up to the moment of gathering full speed and firing on all cylinders. The awesome awesome finale is the explosive gallopade. Do You Believe is the scorching rock and roll with express solos, in which Lemmy states his belief in rock and roll. Bridge unifies the tension and this song is a vocal voltage ride to the fullest. The best rock and roll on the disc and a proven patent to keep your feet on a constant go. Death Machine is quite a different option of aggressive guitar licks, mid tempo and disturbing atmosphere where Lemmy's hysterical vocal complements shreded guitar.
Time for Dust and Glass, the mellowest piece on the disc. Close to Lost Woman Blues also because it is full of blues. Lemmy sings very softly. The song has an interesting structure since the verses are combined with mean guitar solo. It is about dying. There is no chorus. Rock and Roll returns in Going To Mexico which starts a little thrashy but it is nothing quite removed from, say, Hammered. Another twisted and intriguing song is Silence When You Speak to Me. Heavy, almighty and typical of Motörhead guitar riff and Lemmy freely departs in the chorus on a wave of venomous gruff.
Crying Shame takes something after The Head Cat, and is seasoned with a heavy sond full of robust mini solos and insanely melodic chorus. Lemmy exerts his trademark vocal sound and the rest of the boys follow. I wonder if someone catches the additional instrument in the mix. The cut features the meanest solo from Campbell on the record.
Bass intro opens Queen of the Damned, which again rushes in style and Lemmy hysterically growls about... women. Knife opens with a mini guitar solo this time after which the band steps in and demolishes everything . Knife is a kind of decadent rock and roll full of Lemmy's vocal charm. Quite a severe beast with an unexpected change in the field of dynamics.
Keep Your Powder Dry is a clean riff with an incredible hook on which the dirty bass overdrive is based, and the dirty bass vs. The clean, hooky riff is spellbinding. Apart from that, it is a great occasion to headbanging. For the end the band serve the fastest Paralyzed. And if Aftershock has left you in this mood Motörhead do not fail. They have just managed to do that for the umpteenth time.
Game over. Motörhead won the poker again. You just realise you can relax now, drink a glass of whiskey and smoke a cigar because when you listened there was no time for other pleasures somehow...
Will Sing For For Food - Various Artists (Charity Project)
Track & artist list:
Harlan Jefferson – Get Yo Step On The Soap Flossers – Do As I Michael Whyte and the Sunset Movies – Let It Play Danielle Juhre – Daniel Clark Colborn – Mr. In A Hurry Part 2 Some Kind of Whale – Sorry Today Joe Disastr – Tim’s Had Bad Luck Paul Hieser – Morning Love G. W. Hill – Arrival Fallin Angels/S&S Productions - 9/11 Dedication Jim Grass – Peace of Mine Wade Lammon – Guide Me Home Pine Cone – Paige Tania Nicholson – No Place Like Home P-H-M – Renew
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This project is one of a kind that I admire and will be covering more than one of in the months to come. All of the artists bring their own unique sound and style to the table, much of being of a mellow and very smooth variety. It can't be categorized very easily, as they do vary quite vastly, with a couple of stand outs being Clark Colborn and Gary Hill, two artists of which I am familiar and have reviewed before. They both put in great performances surrounded by an eclectic bunch of very pleasant artists. The music here is that of which anyone can enjoy, it's that well put together for a good cause, set up through Create Space. You don't get people together for something like this every day, but more and more artists have been getting together lately to make such a good thing happen, and it's a great way to support the homeless community. I find this to be an excellent group of artists and tracks, enjoying every minute of it. This is a special gift to the community of Rockford and beyond, and worth every thoughtful donation.
All proceeds above the CreateSpace fees for this album will go directly to the Rock River Valley Food Pantry, Rockford, Illinois. All artists have donated their songs for use to raise money for the food pantry.
Weapon UK – 'Rising From the Ashes' (2014)
Line-up:
Danny Haynes: vocals
Jeff Summers: guitar and vocals
Ian Sweeting: drums
PJ Philips: bass and vocals
Weapon started their short-lived career as one of the representatives of the NWOBHM genre. In October, 1980 they put out a single 'Mad Mad World'/'Set The Stage Alight'. Their musical prowess got them to tour alongside Motorhead. Metallica must have been influenced by them too as they borrowed the opening chords-drum fils of 'Set the Stage Alight' into their 'Hit the Lights'. It is a shame such a promising band disbanded not long after. The members pursued their careers in different musical outfits. Now, they are back with a new name (barely 'UK' added) and most importantly the new music. 'Rising From the Ashes' is plentiful with exciting premier cuts...
Abundant with heavy riffing, powerful rhythm section, blistering vocals and catchy melodies 'Rising From the Ashes' material was in vast majority penned by Jeff Summers. The guitarist is responsible for most of the words and the music here. For me, the album has been a grower but it will not necessarily be like that for you. You may come across flashbacks when it comes to musical side albeit the slick, big sounding production firmly places the band in 2014. The sound is simply a heavy rocking awesome grittiness.
Wriiten by Philips, the atmospheric introduction 'Prelude - The Awakening' opens the album. It has a mysterious vibe to it and reaches back into the aesthetics of NWOBHM. This unresting hue morphs into the thunderous 'Ride the Mariah!'. Danny's vocals emerge as if from the abyss of heavy riffing and marching drums and bass work. Judas Priest anyone? You can tell the band sounds afresh and are ready to rock! Jeff rides on fabulous gale-force guitar solo by the end of the track! Overall, this is a solid statement both musically and lyrically from the band that has just resurrected.
'Fountain of Paradise' is a more jubilant rock cut which has Danny sound in places like the last singer of Rainbow. The catchy chorus paves its way through the laid back interplay of instruments. Radio airplay is due, I hope! The overall groove is laid back and the riffing comes insanely heavy. If you like comparisons, place it in times of Rainbow from the 1980's just a lot heavier.
'Warrior' opens with a slick picking from Jeff and a jammy section which is a vehicle for riff which swings very fiercely. The cut features great vocal harmonies. The song has quite a melodic chorus and some crafty drumming from Ian. Jeff's wailing guitar solo echoes the times of NWOBHM and Danny's singing sounds belligerent. The singer sets the tone for this song with his amazing timbre. Lyrically, the song does not lie far from the matters lyricists of NWOBHM were wrtiting about. Epic!
The band returns to the mode of classic hard rock, if you like, with 'Ready 4 U'. This one was aptly chosen for a single, and has a video up on YouTube. Check it out! If properly promoted the song could script itself into the 'hits' chapter. It has that potential. Massive riffing, passionate vocals, mighty rhythm section plus a hooky melody. It is party rock which would not sound out of place at a stadium full of mesmerized audience. You can tell by now, Jeff's guitar playing and Danny's singing complement each other very well, as if they were a marriage made in heaven. Anyone feels the lingering vibe of Night Ranger in the song? The cut sounds pretty American.
Remember 'Over the Mountain' by Ozzy Osbourne? The riff gets recycled and fired up in the next number 'Burning Skies' writing of which every member of the band gets credited for. Boggling work from the rhythm section paints the picture of the darkest track on the album. And the heaviest too. The singing is very atmospheric befitting the tad foreboding mood of the tune perfectly. The ending is pretty twisted.
Now comes the time for a mellower tune, 'Alamein'. Lyrically about utopian world, for me it was a slow burner. It has some terrific, subtle work from Jeff on the acoustic and keyboards from Roy Shipston. It could remind you of some slow numbers from Judas Priest, Iron Maiden or even Scorpions. Not too shabby as it has a decent subtlety to it. Jeff particularly shines out here with his inspired soloing bringing back memories of the 1980's stadium acts. There is a slow build-up of tension in the song and it released with the aforementioned solo.
Now, my personal favourite, heavy rocking 'Wonderland'. It has a classic hard rock structure. The main riff abetted by the structure can recollect Led Zeppelin's 'Black Dog' or 'Heartbreaker'. The guys cooked up an almost indecently melodic chorus. The riffing sounds very powerful and lifted from blues rock. The jamming bridge could have been prolonged, but the manic soloing from Jeff makes you headbang along.
'Bloodsoaked Rock' is a modern heavy rock number which when played live would see many hands clapping and feet thumping. Good number to drive your car with on. The fat riff gives you goosebumps indeed!
Hard rock riffing returns with 'Bad Reputation'. This is combined with another insanely melodic chorus. Danny's belting out 'You got a bad reputation' is not of this world. Pumping rocker all in all with a fat riff that could as well come from Nazareth and Mr Haynes has sometimes this venom in his voice which is equivalent of Mr McCafferty's. Job well done.
'Celebration Time' sees Weapon-UK returning into this almost indecently melodic department. This song could do very well at a party and has a Summer (no pun intended) vibe to it. Jeff's soloing takes you into an entirely unpretentious dimension. Great cut!
The band states their valedicition with 'Killer Instinct'. It is a bonus track and was recorded with Baz Downes on bass and Bruce Bisland on drums and for your listening pleasure shall not be reviewed here. No Sweet here as I saw it once described.
All in all, 'Rising from the Ashes' is a collection of eclectic cuts. Don't be fooled by the NWOBHM label and try to employ some open-mindedness and you will be taken aback by this great recording. My nod goes to Jeff Summers for bringing the riveting guitar menace into the melodies on this album. Jeff is also the guitarist for Mick Underwood's Glory Road, be sure to check this band as well. Weapon or Weapon-UK? Well, aftertaste makes me want more.
House of X - 'House of X' (2014)
If you have followed hard rock music scene, which is not an easy task to do, the name House of X has to sound somewhat familiar. You may wonder what hides under this monicer? Hint #1 Well, just to unveil a little bit of the secret, here are four musicians who hail from England. Hint #2 These guys have been around for more time than me. Not helping you, I know. Hint #3 previously known as X-UFO they have been working hard all across Europe in the live environment to earn some familiarity to their name. Hint # 4, yes. The UFO connection. Ah, now you are only beginning to get it. Danny Peyronel, Laurence Archer and Clive Edwards were all once members of UFO back in the day. Not in the same line-up, I hasten to add. Danny Peyronel joined the band in 1975 for a staggering effort 'No Heavy Petting' and authored such classics as 'Highway Lady', 'Can You Roll Her' and 'Martian Landscape'. Laurence Archer, formerly known from Phil Lynott's Grand Slam, Lautrec, and Stampede joined UFO along with drummer Clive Edwards for a fantastic 1992 release 'High Stakes and Dangerous Men'. Bassist Rocky Newton of McAuley Schenker Group closes the line-up. This, in 2014, is House of X ladies and gents! Now, onto the music.
Out on October 27 on Escape Music, an indie label from London, undeniably House of X's inaugural eponymous album fits in category of a very hard rocking and wistful recording. There is nothing over the top here; and the musicians do not brag about the music they perform. This is no album of self-worship. Instead, you get a non-contrived and exciting rocking record. It is bursting with ideas worked into context subtly and naturally. This album is made strictly out of joy of playing music for the fans. What more can you ask for? The sound is of blistering quality, yet there is nothing too clinical about it. Kudos to Steve Mann for producing and mixing the album. The overall mix could be described as a wall of sound, or rather a tsunami of sound. We get a very clever mix of instruments which cranked up to 11 abducts you and makes you go with the flow, a huge tide. This exemplifies the heavy rock sound and gives this band their identity. And so do the twelve compositions the band penned. Eleven. If you detract the haunting reworking of 'Martian Landscape'.
As I said, the compositions on this record are cleverly crafted; the melodies are catchy enough; the musicianship tight; the guitar soloing shows Laurence's irrefutable skills and love for the melody – listen to him closely and you will comprehend his stint with UFO. However, Laurence does not make the fuss about it. The album is a group effort, and I have not heard such a unified album in quite a time. Danny's voice is very clear and strong and it just shows how well he aged. He lost nothing of the bloke we all know from his solo record 'Make the Monkey Dance'. I have always liked this quasi-histerical punk hint in his voice, this timbre that's not entirely English but topped with Italian expressivness and French warmth and glamour. Clive Edwards has a clear sense of music and rhythm and produces quite complicated pieces of drumwork. Fireworks on the drums lads! Together with Rocky Newton's slick, yet in-your-face bass lines, they create a solid foundation for House of X.
The album commences with the short drum intro to the powerful, blues laden 'Do Me Wrong'. Heavy, meaty, trodding riff and you know you are in for a ride. Danny's singing is full of passionate twists – especially in the bridge, just before Laurence unleashes one of his trademark manic solos, and the Newton/Edwards rhythm section just takes you by the balls. This is a very strong and straight up hard rock song with swaggering mood. Inviting you on a journey back in time it definitely sounds very fresh and modern by the same token. As I said, very groovy album opener that stems from blues. Love it.
Next up we have a rock'n'roller's song, the wild 'No More Tequilla'. A rock and roll title for a rock and roll number.This one constitutes a very fast paced, punchy track which really is one big hard rocking delivery from the whole band. The guitar riffing brings back memories of days when such music was appreciated by masses, and Laurence plays an inspired frenetic solo. The singing has an immediate grasp on you, as the voice is quite orotound, and Danny manages to obtain this raucous quality. As it is with a rock and roll rebel!
A motoric riff opens up the third number 'Long Arm of the Law'. When Danny begins his expressive singing, the riff works like clockwork in the background. The instruments reach almost a catatatonic dimension in the pre-chorus section, just to nail you firmly to the ground with the chorus itself. The guitar soloing is a little more gentle than in the previous two tracks, and the ending is like an accelerated locomotive which you simply can't stop! All instruments figh for supremacy!
Thumping 'No Way Home' sounds like an outtake from the High Stakes sessions. Be it because of the opening riff's similarity to 'Backdoor Man' or the song's underlying swagger. It is quite catchy too! Laurence's solo is again pretty twisted however it retains a lot of melody. This one is a medium paced piece of rock and roll with everything firing on all cylinders. Danny's semi-histerical singing is so much in tune with the melody. Man, this voice embodies a positive kind of rock and roll madness.
'Road Less Troubled' is a melodic, uplifiting number with many twists to it and a sing along chorus. Again, a quality song and you wouldn't expect the 5th song into the album and all of it is basically wonderful quality. Great skins' pounding from Clive Edwards and a 'talking' guitar solo from Laurence. This cut is just so appropriate to be cranked up to 11 in a vehicle of your fancy!
Then comes the time for the spooky, moody, atmospheric and the dark! Yes, 'Martian Landscape'. The boys' take on the classic UFO! I agree this version may sound less cosmic than the original. But it has this particular, pleasantly eerie mood the original lacked. The guys are not trying to improve on the original, they just provide their interpretation. This riff is earthshatteringly heavy it could blow off any tornado and walk away whistling! This song is a worthy addition to the collection of premier material, as it brings back the Times, and does leave you want more.
'Rage' follows. This is a proper title for this fiery, ear-splitting, frenetic instrumental. Laurence is the magician here whereas the rest of the band are his assisstants. This is one big jammy cut, with the guitar playing the main role here. These guys did not forget how to jam, and in this world of 'let's- get-this-one-down' as fast as possible, this quality is refreshing. The rhythm section is so in tune, it appears at times that Edwards/Newton are completely in context, as if the bass sound was coming directly from the bass drum. Laurence paints a wonderful picture with his guitar playing – it's all a totally mindblowing artsy craft. In days gone by, most bands used to include an instrumental and this used to give you some perspective. The ending of 'Rage' reminds me of Deep Purple. Not so of any particular song, but there's a hint in something, a thingy Purple used to play live after they had reformed in 1984. A very welcome surprise, and a painless transition!
'Alive' is one of the many highlights of the album. Very moody song with balladesque beginning. It definitely has a brooding, aggressive feel to it. Starts off rather slowly to build up a little later on and has a fiery chorus. This one features Laurence on lead vocals and he almost chants the words! It is dark indeed. Very heavy metal, maybe the heaviest song on the album. The guitar attack is just smashing. There is also this melody to it, not instantly recognisable. Laurence shoots up some nasty shredding. I feel such a cut could do well live because of its immense power and quite intricate scheme. The most modern track on the album and one of the longest too.
With 'Busted' the band returns to the lighter kind of rock and roll and a joyous tone. The gravel in Danny's voice works very well. And yes, we have another venomous, enticing guitar solo to headbang along. A merger of the modern and days gone by. There is a fragment by the end when the band starts to jam and you wish it could go on for a little while more.
'Second Son' has a similarity to some lighter UFO tracks – it is insanely melodic. The singer sets down the mood for the melody. Don't know what it is about the tack but it smells of southern rock a bit and would fit for some kind of soundtrack. This is the lightest cut on the album. Clive provides a steady beat and Rocky's bass is exceptionally warm, glowing with warmth. Larry lays down a particularly melodic solo, the most melodic on the whole album you could say. A very summery feel to this song too.
A generic riff starts 'House of Lies'. The riff is quite positive in tone, and the band floats on the hard rock/heavy metal territory again. Medium paced song this one is. The band is firing again on all cylinders, and this rocker could really benefit from the radio airplay. There is an oriental touch to the initial part of Laurence's solo, and then it progresses naturaly into something of monstrous quality. One of the best songs on the album.
'Millions' is the longest cut on the album and the most unusual as well. It opens with catatonic attack of instruments only to morph into a majestic, hard rock, anthem. It is infectiously catchy too and you can hum the melody after the first listen. Danny sounds like he wants to cover the instrumental layer with his vocals which results in an anstonishing effect and benefits the whole song. And wait, this must be Laurence's best solo on the album yet. He effortlessly combines the melody and some nasty shredding! Definitely, the most unusual cut on the album and the decision of leaving it for the end is very fitting for the whole concept of HOUSE OF X.
The album is for those who love old school hard rock, but there is this modern hue in the music which makes HOUSE OF X relevant in the times of talent(less) shows, immediacy of music access, political correctness, and difficulty in telling quality from no quality. Just do me a favour and be politically incorrect, will you? Listen to the album from the first song to the last! This album proves that hard rock given a fresh perspective and exciting material is still one of the most rewarding areas of contemporary music.
HOUSE OF X? Yes, they are going to rock millions (pun intended!) of fans – no doubt about it!
