Album Review: STIFF LITTLE FINGERS – “No Going Back”

If you’ve never heard their stuff beyond a few old punk rock tracks, forget everything you thought you knew about Stiff Little Fingers. Firstly, they are not really a punk band, and secondly they have in their ranks one of the best lyricists in the business. Oh yeah… they also make fucking great music.

“No Going Back” is the 10^th SLF album, and I was amazed to realize it’s been eleven years since their last one, the powerful “Guitar & Drum”. As with many bands these days they’ve been funded through Pledge Music, surely one of the best ideas in music history. Go Pledge!

The band first came to my attention with their 1997 “Tinderbox” album, and I was amazed at how melodic they were, not even remotely like a punk band in the traditional sense. Vocalist Jake Burns, who had an angry growl when they started out in the late 1970’s, has quite a unique sound to his voice, a voice that spits pure venom when politicians and bankers come into the lyrics. When he’s not shouting at the powerful, however, he has a real melodic pitch that has defined the band’s sound for over 30 years now. 

“No Going Back” has twelve tracks and is seriously as good as anything the band have ever done. It’s got some powerful, killer guitar tracks, but that’s true of any album by SLF. The rwal selling point if that it’s also stuffed with killer hooks, plenty of melody and choruses that have you singing along on your first listen. It opens with “Liars Club”, a track about politicians that the band have played previously on tour, and this powerful track sets the tone for the album. Jake Burns has always written about things that, basically, piss him off, and “No Going Back” doesn’t sway from serious topics, including Burns’ own depression in “My Dark Places”. Final track “When We Were Young” has a real retro SLF feel to it, not only in the riff and structure but also because it includes a snippet of their old single “At The Edge” if you listen closely. It has the great line “They said that it’s all over, I said like hell it is, They say it’s self delusion, I say it’s self belief”, and that encapsulates the sheer determination of this band and their indomitable frontman to keep on making great music and telling it like it is.

I know I’m banging on a bit, but this is so far the best album of the year, it’s such a pure release or raw energy and talent. There’s nods to the band’s history, there’s politics and personal life in the lyrics, there’s some superb songwriting in general, and there’s music that just kicks ass and gets you fired up from the first listen. The crowds at the gigs may only want to hear the old songs, but I hope Jake Burns and co play as many of these songs as possible on the upcoming tour, because they’ve never sounded fresher and more determined. Absolutely brilliant. 

SLF Website

"Liars Club" Live in Bristol  2010

ALBUM REVIEW - H.E.A.T - "Tearing Down The Walls"

Exactly six years after their surprisingly excellent debut, Swedish sensations H.E.A.T are back with a fourth album that seems to be a massive “fuck you” to anyone who doesn’t play music for the sheer joy of it. Anyone who has seen them live will know that these lads bounce about like a hyperactive kid in a sugar factory, doing their best to transfer the smiles on their faces to the audience, and once again they’ve carried this attitude onto an album.

“Tearing Down The Walls” is absolutely stuffed full of first class AOR tracks, showing a band who really know how to put together a catchy tune. This may seem an obvious way to go about things, but there’s a hundred average AOR albums out there for every one that makes you play air guitar and sing along at embarrassing volume whilst walking your dog on the beach (like I did this morning).

Even on such a quality album there will be stand out tracks, and for me there’s a few. Lead single “A Shot At Redemption” is an absolute killer (and perfect single choice), that will blow many socks off live, as will the title track, which is a full on lighter waving anthem with a chorus that begs to be joined in with. I have to single out “We Will never Die” as well, as it would have fitted perfectly on the debut and will have you going “Woah woah!” by the second minute. I also love “Inferno”, a full on rock track that belts along like Usain Bolt with his arse on fire and has a cool, early TNT vibe about it. With that said, the tracks on offer are so pure in their AOR-ness (is that a word? Should be) that bits and pieces will constantly ring little bells in your mind, but as a whole they are pure H.E.A.T. Well, all except one…

Six tracks in, we get to “Mannequin Show”, a mid paced melodic chugger that totally, and I mean TOTALLY, steals the chorus tune from Britney “none more rock” Spears’ “Oops, I Did It Again”. From the first time I heard it to the last it totally ruins the track for me, and is an unfortunate blot on an otherwise pristine album. In fairness, I played it to several other people without saying what I thought, and every single one spotted the similarity within ten seconds. Even the totally guitar free ballad “All The Nights” is preferable to hearing Britney in my head. In fairness, the ballad is actually pretty good anyway.

So full marks to H.E.A.T on completing four albums without fucking up. The sound on “Tearing Down The Walls” is excellent thanks to producer Tobias Lindell, and every single band member gets their chance to shine through the mix. Special mention must go to guitarist Eric Rivers for some inspiring and uplifting solos, and I suppose it goes without saying that vocalist Erik Gronwall doesn’t put a foot wrong with a powerful performance. An almost perfect mix of old school AOR and modern teen friendly rock, “Tearing Down The Walls” is as good as, if not better, than anything H.E.A.T have done before. Except for the Britney Spears one, obviously…

ALBUM REVIEW: ASIA - "Gravitas"

Some of you may remember that a couple of years I went a bit mental over Asia’s “XXX” album, a fantastic piece of work that resulted in much singing along and many embarrassing Google searches. It was, to be honest, an almost perfect album, full of pace and melody, the best , for me, since “Astra” way back in the Eighties. Understandably I’ve been waiting for the follow up with baited breath.

One of the problem’s I have had with Asia in the past is their propensity for releasing albums full of mid paced, samey songs. This is one of the reason’s I loved “XXX” so much, as it really rolled along and showcased varying speeds and styles. “Gravitas” does not do this, not even a tiny bit. Opening track “Valkyrie” will have you singing along, but only because John Wetton sings that very word over and over. Next is eight minutes of “Gravitas” that feels more like fifteen, with a dull two minute intro (to build gravitas, I suppose) and a nice opening riff that dissipates into five more minutes of mid paced averageness that threatens to be good but never quite makes it. It only wakes up at the end when we finally get a sweet guitar solo. The most interesting track is “I Would Die For You”, which rolls in at just over three minutes and has absolutely no flab on it anywhere.

“Gravitas” is a rather uninteresting album overall. If a few of these slow tracks, like “Russian Dolls” and “Nyctophobia” had been part of a pacier album then they would have been fine, but when the vast majority of an album is so unchanging and mediocre it does begin to grate. There’s no real flow to many of the tracks, no sense of urgency, none of the passion of “XXX”.  In short, “Gravitas” is boring. It’s not Prog-boring, as Asia have never really been a Prog band, it’s just dull in a generally dull way. I have a feeling this will be the biggest disappointment of the year for me, and that sucks. 

Official Band Website 

ALBUM REVIEW: MAGNUM – “Escape From The Shadow Garden”

You can’t keep a good band down, and like any other good band Magnum just won’t lie down and take it easy, perhaps with a nice cuppa and a biscuit. Nope, Bob Catley, Tony Clarkin et al are determined to plough on until we get bored of them, something that, thankfully, doesn’t look like happening anytime soon as they release this, their seventeenth studio album.

Much has already been said about the quality of “Escape From The Shadow Garden”, and I have to agree that, once again, this is a very solid offering from a band who have certainly changed their sound from the old days. Whereas the Magnum of old were a cross between melodic and prog rock, Magnum post 2000 are a more guitar driven beast, and never more so than on this album. It seems that Tony Clarkin has rediscovered the fact that he is in actual fact a lead guitarist, and as such he is at liberty to deliver big, fat riffs (Check out “Too Many Clowns” for evidence of this) and to rock out as much as he bloody wants. Bob Catley, too has changed, with age giving him a rock growl that wasn’t evident when he was telling us a bout storytellers and vigilantes. 

Whilst some bands throw out as little as they have to, it’s refreshing to hear an album these days that’s over an hour long, and even more refreshing that the quality is high throughout. I’m sure a crowd favourite on the upcoming tour will be “Midnight Angel”, a haunting song of over seven minutes that demands a singalong at the start. The aforementioned “Too Many Clowns” should also be a cracker live, as it’s a real rocker with an interesting honky tonk piano line that creeps in towards the end. It’s not all perfect, as a few tracks meander on without really trying to soar (“Don’t Fall Asleep” I’m looking at you), but in general this is certainly on par with the last album “On The 13^th Day”.

So the Magnum machine keeps rolling on, and there’s not much here that won’t be devoured by eager fans. It’s heavier than you might expect, but this is in no way a bad thing, but there’s still plenty of the melody and poetry we are used to. I have to admit that I don’t expect Magnum to blow me away with a five “R” album these days, but “Escape From the Shadow Garden” shows a band that still have a lot of strength and a lot to give.

Official Website

 

COMIC REVIEW - "DREDD - UNDERBELLY"

So yeah, it looks like we’re not getting a sequel to the excellent “Dredd” movie, but do we really need one when there’s a constant supply of first rate Dredd stories in the 2000AD and Megazine? Well, yes, I know we REALLY want another film regardless, but at least the chaps at head office have met us half way with this official sequel, carrying on a little while after the movie left off.

I suppose the first thing that has to be said is that this 32 page downloadable comic genuinely does the job well. It’s a tight, solid story concerning drugs,  psychics and the fact that Mega City One doesn’t let mutants in, meaning they have to be smuggled in by nasty people who aren’t likely to just let them go with a pat on the back and a sythi-banana. 

The script, by 2000AD stalwart Arthur Wyatt, is crisp and easy to follow, and long term artist Henry Flint produces some gritty visuals that suit the set up, as this is Mega City One not some shiny seventies dazzling city of the future. Judge Anderson, now part of the burgeoning “Psi Programme”, has gained some of the sass she is known for in the comics (where she first appeared back in 1980, three years after Dredd), whilst Dredd himself is his usual stony faced self, accepting of Anderson’s new fangled approach but still preferring to kick in doors and punch faces until a crime is solved. You know – the old fashioned way!

Overall, “Underbelly” is a successful attempt to flesh out the world of the film and even move it on a little. A good script and art make up for the fact that it’s rather short, but even then the length makes sure it’s tight and never outstays its welcome. 

I have reviewed this as a digital download, which you can get for under two quid, but it IS available as a one shot physical comic book as well. The thing is, it sold out in about four nanoseconds, which means that wankers on Ebay are asking silly money for it. The good news is there’s going to be another print one, so if you really want it on paper don’t go to the rip off merchants, okay? It should be available from 18^th February so go to your local comic shop and put an order in. 

Download At http://shop.2000adonline.com/products/digital_dredd_underbelly 

 

FILM REVIEW - "GRUDGE MATCH"

Come on, you know you wanted to see Stallone and De Niro have a fight. You have wanted it for years, of course you have! Okay, so maybe you would have preferred it when they were, shall we say, a bit younger. Maybe when it wouldn't have been, by necessity, a comedy rather than a bloody, all action boxing movie. So what we don't have here is Raging Bull vs Rocky but, like Stallone's Italian Stallion, "Grudge Match" beats the odds to become one of the best movies either actor has made for some time... and yes, I know that's pretty easy for De Niro, but Stallone still makes good flicks!

the story centres around Henry "Razor" Sharp (Stallone) and Billy "The Kid" McDonnen, two ex champions who absolutely hate each other beat each other in title fights 30 years ago. They are dragged out of retirement to play themselves in a video game (motion capture stuff), but when they meet the old rivalry resumes and they start to scrap. With today being what it is, the fight goes viral (as does the next one) and they find themselves being persuaded to take part in the ultimate Grudge Match (hey! That's the title!), thirty years after they both retired.

As a set up it's pretty standard, made more interesting by the choice of leads. Kevin Hart (Scary Movie 3) channels Chris Rock as the son of their old promoter, but the star support is Alan Arkin (Freebie & The Bean), who excels as Sharp's old trainer. Throw in Kim Basinger (Dog & Cat) as the ex girlfriend of both fighters and you have a cast that is very well catered for by writers Tim Kelleher and Rodney Rothman.

Yes, the real reason that "Grudge Match" wins every round is not the leads, but the script. Although there's plenty of funny comedy lines that revolve around the fact that these two guys are, like old and stuff, the real meat of the characters is done perfectly. Each fighter has an actual personality, and each has their own way of coping with their past and indeed their present. When the fight comes at the end it's hard to root for one over the other as neither are perfect but neither are dicks either.

"Grudge Match" is an unexpected cinematic delight, a simple set up elevated by depth and warmth. So who wins? You do.

ALBUM REVIEW - BLACKWOLF - "The Hunt"

Yet another band who have made their album due to the generosity of fans, Bristol band Blackwolf are riding the crest of a wave whilst creating more, showing massive potential and needing that little bit of luck to help them move onto bigger and better things.

It’s early days yet, mind. “The Hunt” is their debut album, and will be backed up by a rather sweet tour with The Answer. It’s rather sweet because that band must have been at the top of their list when looking for road buddies. Simply put, if you are a fan of The Answer (or even The Temperance Movement) there’s every indication that Blackwolf will be right up your street, as the musical directions of both are certainly pointing down neighbouring roads. 

Blackwolf, whilst being a rather heavy live band, have a real Southern twang to them, with a deep blues groove serving as the base of their sound. There’s plenty of Black Crowes type influence on show, but with that much more gusto and a bigger pair of balls. Vocalist Scott Sharp has a superb, powerful voice that simply soars above the music, completely belying his West Country roots by sounding like he was raised in a swamp and has been fighting to get out all his life.

When done right, this sort of music is incredibly energizing, throwing in passion, soul and pure rock all at the same time. As you can see from the rating, Blackwolf do it totally right. From broody, powerful opener “Mr Maker” through to the upbeat closer “Sea Of Merry” they don’t put a foot wrong. Even when they slow down, for “Sleepwalking” near the end, it’s a soulful three minutes that bounces into guitar driven life for the final sixty seconds and features some trouser tightening notes from Mr Sharp.

I just love it when a new band comes out of the traps hungry for blood, and Blackwolf have made just about the best start possible, with everything they’ve achieved so far attributable purely to their own talent and determination. Where they go next is anyone’s guess, but I’d bet on onwards and upwards as two likely destinations. Get the album and see them now so you can say you did, later.