Greta Van Fleet "The Battle At Garden’s Gate" (2021)

The young Zeppelin starlets return with a sophomore effort I initially found underwhelming. Was this a repeat of the fumbled Anthem Of The Peaceful Army debut? Trying to find my way into the music I decided to put it on shuffle with along with the dynamite EPs Black Smoke Rising & From The Fires. They showed so much promise at that early stage of their career. Switching back and forth with this new set of twelve songs, it starts to make much more sense. Those original songs were wild, full of youthful energy and big riffs. Now, the group seem to look beyond the obvious.

The Battle At Garden’s Gate seems like an attempt to mature beyond the flash and dazzle. Thus it can seem somewhat dull at times. Greta Van Fleet's Problem is still the footsteps of acts gone before that they tread. Much of the music lacks originality, creating an undercurrent of uncertainty. Ive tried to let go of that tho. What I've found are the subtler crafts, cohesive song writing to focus on theme and topicality with out being steered to strongly by guitar and stage antics. Its best songs creep up on you, brooding, steadily building but not always seeking a "big moment" to conclude.

Though with a handful of songs that climax does arrive through ambitious guitar solos. Aiming for that classic timeless lead magic but awkwardly residing in the confines of ideas that were once the cutting edge. They do find their space to soar tho. To let go of the more critical ear, it can really feel quite special. The variety of cuts keeps the record flowing, moving between different intensities and focuses, everyone gets a moment to make a song memorable, mostly the Kiszka brothers with singer Joshua having a field day on some of these songs, going above and beyond to flex his mighty voice. Its an absolute pleasure on a song like Stardust Chords.

The record sounds fantastic, very lived in and warm, so much so I've barely considered the fidelity until now. Drummer Daniel Wagner carries the songs competently with groove for the backbone and occasionally flairs up with unleashed freedom as he goes ham on his kit. Its wonderful, like a progressive drum solo as he goes the rounds on the drums. Would certainly like to hear a little more from him.

I'm lukewarm on this record but mostly for the lack of originality but letting go of critique I've had nothing short of a blast with The Battle At Garden’s Gate. Now the initial shock of a band so stunningly reviving an old sound has worn off, its up to them to write memorable songs and I think they've genuinely done that here with a handful of them. As whole, its a case of time will tell but I can't complain as so far Its been great fun.

Rating: 7/10

Queen "The Works" (1984)

Far from the glory of their enigmatic origins, Queen keep stylistically challenging themselves with each project. Despite being on a dip in form, these records still throw up a classic song or two. I never thought I'd be radiating in the tone of Radio Ga Ga again. It's a childhood song now heard through adult ears with a birthed appreciation for its spacey keys, subtly Industrial drum beat and robotic baselines. The coldness between its gently simmering synths and Freddie's stunning voice when they drop out hits the reset button on its atmosphere perfectly each time, such a unique song.

It sets a mechanical undertone for whats to come in a small dose. Tear It Up retains the bold crashing drums of Arena Rock yet executed with a Industrial rigidity that will reoccur however its a moment where Brian May's roaring electric guitar riffs find unison with this mechanized experimental theme the band seem to be leaning into. Once again however, its only fully realized on Machines, a track with gittery synths and digital electronic tones in the vein of a Kraftwork b-side. The reset of the record tends to fall into the typical established styles that Queen like to dabble with.

Man On The Prowl simply sounds like a glossy piano led version of Rockabily track Crazy Little Thing Called Love. To be fair though these other songs bring the energy, Hammer To Fall resurrects the classic Queen sound with a touch of class as once again Brian May's electricity just lands well with his band mates, unlike on Hot Space. It seems that something was brewing among the drumming and robotic use of electronics on this album but it falls into the eclecticism of styles the band hinge on, leaving it short of something defining. It feels routine, despite being really enjoyable.

Favorite Tracks: Radio Ga Ga, Tear It Up, Keep Passing The Open Window, Hammer To Fall

Rating: 6/10

Queen "Hot Space" (1982)

Quirky, camp and kooky, Hot Space flips the deck as legends Queen make a hard pivot away from their roots in Rock, embracing Pop, Funk, Disco and Electronic music with a stern boldness. The Andy Warhol aesthetic is a perfect fit and I can't help but feel this wouldn't of been well received at the time. Retrospectively I wonder what sort of influence it had on acts at the time. Michael Jackson often sighted Queen and Freddy as a big influence are on this record we hear Queen approach the crisp, sharp instruments at hand similar to how MJ would on records like Bad and Dangerous.

All the instruments, drum included, are snappy and swift. Its all about bold punchy tones, rigid mechanical timings and simple arrangements drawing on the stark aesthetic style. One can hear all elements clear and divisible, the music is boiled down to a simple form. Brian May's guitar licks then haphazardly cringe and collide with these clean and slick sounds, often crashing in, amidst an attempt to elevate the moment. Mercury tends to suffer the stylistic approach as his muted singing repeats dull phrases the themes hinge on however his high pitch singing on the caribbean laid back track Cool Cat is simply sublime. The track before it isn't half bad too, Las Palabras De Amor, however it feels like a rehashing of Teo Torriatte. Maybe its just the foreign language selling that angle.

The track Back Chat reminds me heavily of a Daft Punk song. Just had to say that. As the record draws on the group find their natural ecclesiastic breaking free as their diverse set of styles come back around, fusing with the new approach and offering up their typical set of alternatives. It leaves the album meandering its way towards the Under Pressure hit with David Bowie, a timeless collaboration. Its a diamond in the rough. Hot Space is terrible because its just not good enough. Queen overreach and produce something that doesn't sit right with them. It would be a tolerable album if they stuck to the plan but its when their prior sound leaks in that the music suffers.

Favorite Tracks: Cool Cat, Under Pressure

Rating: 3/10

Queen "Jazz" (1978)

Now embarking on their seventh full length, the eclectic music of Queen is starting to to sound more compartmentalized. No longer an organic tapestry that ebbs and flows from theatrical pantomime to hard guitar grooves and all in between, the group have split their styles and experiments into distinct songs that had me feeling like I had a bias to the ones I knew. The reality is Jazz has a mix of stinkers and classics among its thirteen tracks. Where time has dwindled out the mediocre, the classics have lived on which leads me to believe its no bias but an album of mixed fruits, some of which are rotten and many listens couldn't sweeten the taste for me.

The album kicks off with the stale and jarring Mustapha. It conjures Arabic dialect to foster a middle eastern atmosphere. Then its dense and swaying rock guitars rub up against the stark tone with contrasting vibes. Its production is drab in halves and the song rather dull. Bicycle Race and Fat Bottomed Girls are classics that need no introduction, the latter revives the arena rock anthem ideals of News Of The World's opening songs. If You Can't Beat Them seems contrived to reach the same anthemic chorus ideals but its execution is so underwhelming, it doesn't have any juice or pizzazz. Don't Stop Me Now is a beautiful eruption of piano led music, trusted forth by Freddie's unforgettable expressions. Similar ideas can be heard on the ballad Jealousy and In Only Seven Days but again, its a template now and they don't deliver.

Many Queen tropes are being recycled, even guitar tones too. Its a creatively stagnant point but their collective genius lands on occasions. Jazz does end on a creative high with More Of That Jazz, deploying slick metallic guitar licks that gel into atmospheric vocal layering. Its a delight, played on a loop with snippets of songs from earlier in the record, a cool way to bow the album out. If Ive sounded critical it may be that opening song setting the wrong tone for the following music. At this point I just think the band have bared their fruits and its obvious what they are attempting, so when it doesn't hit the mark it falls flat in comparison to the high standard they have created for themselves.

Favorite Tracks: Fat Bottomed Girls, Bicycle Race, Dead On Time, Don't Stop Me Now, More Of That Jazz

Rating: 6/10

Queen "Queen" (1973)

Arriving at their debut release, my expectations had been lowered by the underwhelming Symphonic Rock of Queen II. Surprisingly, this is an easier to digest record. Full of the eclectic diversity and variety that Queen are known for however its yet to find distinction. The production is clunky and dated, the musical influences obvious, worn on the sleeve, yet the songs it births at this point in the bands infancy are much more distinguished and fun than the following record. Brian May also kicks the record into gear with burst of Heavy Metal eruption on Doing All Right very akin to some of his best moments. He quite often finds stirs of Heavy Metal energy to inject.

The song swings between polarizing styles in a playful manor and whats encapsulated in that one track can be heard throughout as the band sway from soft and folksy Progressive Rock into bursts of Heavy Metal and Classic American Rock. The song Son & Daughter even goes into Doom Metal territory as the slow, sludgy guitar grooves carry their texture into the light, very Black Sabbath. Much of the record plays with these obvious familiarities but they always come with a spice of instrumental playfulness as keys and guitar leads add colorful upheavals in practically every song.

Some of the lyrics take on a biblical tone, the track Jesus being a prime example. I am unsure if its a song of praise or a mockery but the tone is a shambles, making an ugly appraisal out of layered voicings which had been used beforehand so effectively as burst of immediacy on songs like Liar. Overall its far better than its predecessor but not exactly its own animal yet. All the markings of what make this band so fantastic are here, ready to be developed. From here onward we only have the 80s and 90s albums left to explore!

Favorite Tracks: Doing All Right, Seven Seas Of Rhye

Rating: 6/10

Queen "News Of The World" (1977)

It may be home to two of Queen's defining Arena Rock anthems known the world over but News Of The World is a haphazard record of eclectic directions lacking any cohesion. On their own these songs ain't so bad but they tend to fumble over one another. After opening anthems We Will Rock You and We Are The Champions, the rest of the run time seems stitched on with nothing resembling the amped up, cheer along style of these two numbers. Named after Sheer Heart Attack, track three blares into Punk influenced guitar tones thrashing at a monotone Industrial pacing. It deploys some rather bizarre feedback noise towards the end and the whole production sounds rather uninspired. Not a bad song but its coloring is drab. The record as a whole feels a step backwards.

From here the energy dissipates as ballads lull the flow and switch gears. Fight From The Inside makes it mark with Roger Taylor putting his stamp on the vocals. In general the tracks keep shifting in tone and the mediocrity of these songs has the bands diversity feel at odds with itself. It hits a low with Who Needs You. Exotic Spanish guitar makes for a sunny sandy song that lays its intentions bare. Its wildly out of place and lacks any subtly as even the percussion shakes it up with Maracas. You'd expect it to become something more that a simple mirroring of worldly musics.

Without fluidity and subtlety these lesser inspired songs just drift all over the place. They may be well written songs but the strands of these musicians influences tend to imitate rather than birth something new. Even the more typically Queen and theatrical songs lack the spark heard before. Freddie's voice may be a charm throughout but with Brian May being quiet on his guitar its lacking. I suspect with two smash songs under their belt the label may of pressured the group into releasing what feels like a set of B-Sides to bolster a record to sell alongside these cultural anthems.

Favorite Tracks: We Will Rock You, We Are The Champions

Rating: 5/10

Queen "Queen II" (1974)

The iconic cover art of the British Rock legendss second full length is an infamous one but that is mostly thanks to its revival within the Bohemian Rhapsody music video. This record may have otherwise fallen peril to the sands of time if Queen had ended the road here. That is just speculation of course, its a reasonable collection of songs that seem to relish in experimentation and the freedoms of Progressive song writing but little of it goes above and beyond. For me the genius of their sound is closer to an embryonic form, the tones Progressive Rock and a strong shimmer of Glam Rock overwhelm and restrain the diversity that would unfold in albums to come. I could be alone in this though as it seems critics adore this record. Is that retroactive or of the time? Either way I think hearing whats to come has dulled the spark in this second chapter as the styles of Rock and Metal of the era dominate the overall tone at play.

Queen II has a very strong vocal element with many layers of over dubbing creating a sense of grandiose and theater which would be done tastefully later on. In this instance its use is a little excessive and interjects the music like a synth instrument. There are times when it works and others not so much but it is certainly a showcase for Freddie's voice who gets to deploy a fair range of styles in the second half of the album. The whole thing however plays like an aimless journey, each song meanders through its motions with hardly any stand out moments. Its got a consistent tone that pivots with sudden music shifts and Roger Taylor puts his stamp in the middle of the record with The Loser In The End deploying his unique sound.

The records production is a little murky. Mustering roars of Heavy Metal energy from Brian May's guitar often end up in a clatter of collisions compromising clarity. They are often some of the best moments but with a lot going on musically it escapes the recording fidelity. Its clear Queen where being ambitious however many of the compositions and musical stunts pulled off may have been fresh and exciting at the time, it now sounds a little less grounded by the impressive song writing they would develop. Queen were young and youthful and its no surprise they would go on to do great things but at this point they are short. Its a strong, solid record but one that feels like its fallen to time, living in the shadow of sounds outgrown.

Rating: 5/10

Queen "A Day At The Races" (1976)

Proceeding from the sensational heights of Bohemian Rhapsody on counterpart record A Night At The Opera, British legends Queen return with a shaky response from critics at that time, forty three years ago. I find myself at odds with the criticism weighed upon the band. The former record came with peaks and valleys, songs that soared and delves into pantomime theatrics that dispelled the flow in places. A Day At The Races is a far more leveled and cohesive record where the bands eclecticism sticks like glue without a week spot. The problem is however that not a lot here is that remarkable in comparison. The Millionaire Waltz may be its only soaring moment as playful theater musical jollity collides with riveting Heavy Metal licks at weighty chords that culminate in a mid song eruption of electricity... Only Queen could do this.

Starting to develop a better understand of the band, one can hear creaking similarities and writing crutches in the music. Roger Taylor seems to have an uncanny knack of mustering a distinct persona with his song Drowse, perhaps the vocals give it away but then again this is a band of four song writers and given at least a song each it is no surprise these thumbprints arise. Writing these words I can see how these perspectives can be leveraged against the record but It plays so smoothly.

Rolling from one song to the next it ebbs and flows, Brian May's guitar electrifying when timeless Freddie is absent. These spurts of textural heavy guitar tone erupt, filling key parts of the music with true imagination throughout its run time. The intro has a particular glorious use of tape reversed guitar lead to create a suspenseful opening to the record. It is heard again as the record closes on Teo Torriatte, a song half sung in Japanese that peaks with moving group chorals as it reaches its end. A really firm record that flows far better than anything before it but perhaps suffering from to little of their peak magics yet the songwriting is fantastic at uniting style as you'd expect.

Favorite Tracks: Tie Your Mother Down, The Millionaire Waltz, Good Old-Fashioned Lover Boy, Drowse

Rating: 7/10

Queen "Sheer Heart Attack" (1974)

Its been another eye... or should I say ear opening record from a band already enamored with global legendary status. Diving into their records has shun a light upon the depths of their brilliance and highlighted what a diverse and eclectic group of musicians they really are. Its something rather uncommon at the peaks of popular music. Sheer Heart Attack is Queen's third full length, proceeded by their magnum opus A Night At The Opera. The two share a common identity, thirteen tracks, around forty minutes of music and songs adopting a similar molding cast within an equally theatrical run through of their opposing ends of style and genre.

Brighton Rock kicks the record off with a glorious Freddie Mercury reaching into the peaks of his range with a pinched voice, harmonizing with the organically unfolding set of riffs alongside him. Its captivating and as the song builds its persona and structure they turn and loosen up into a set of miniature guitar solo licks before taking over the music entirely with a tangent of riff rocking, guitar jamming and tight pick chugging grooves that sound practically Proto-Thrash in snippets. Its a Heavy Metal delight.

It pivots into the classic Killer Queen, the pianos gleam a fun jollity from their chords. Its in contrast to the buzzing energy before it and somehow it works... That's what Queen do! A few other tracks feels more so from a mold, Roger Taylor gets the third song again, Tenement Funster. Perhaps its his voice but the song is uncanny in comparison to the feel of I'm In Love With My Car. Its a lightning start, aligned with an unending source of groove and sweet licks from Brian May's brilliant input.

After this point the record finds its theatrical and pantomime breaks in flow through Freddies songs, Lilly Of The Valley, Lap Of The Gods and Bring Back That Leroy Brown. The best union of these contrasting sides is to be found on Stone Cold Crazy, a hard hitting Heavy Metal track with some seriously gripping guitar work that rubs right up against Mercuries performance antics, jiving of the fast clicking percussion. The transitions are sublime, bottled lightning unleashed as the guitars drop fiery harmonies, scattered with infectious attitude all over the place.

Unlike its proceeding record, Sheer Heart Attack doesn't quite have the dynamics. The bands eclecticism bounces of the walls but there are moments of magic left right and center where it comes together. Brian May's guitar work has been a revelation. Their is so much on this record you could link to the future of Metal music to come and in this form its utterly riveting. His use of effects with echos and reverberations is particularly satisfying. I prefer the songs here individually but as an album its a shade behind the flow of their best work.

Favorite Tracks: Brighton Rock, Killer Queen, Tenement Funster, Stone Cold Crazy, Misfire

Rating: 8/10

Queen "A Night At The Opera" (1975)

With the magic of the recent Bohemian Rhapsody movie lingering in mind, Ive been reminded again of how often the thought passes that as much as enjoy Queen's music, its really the hits I know and of course they have a lot of them. Curious about their deeper cuts and this record that played a big part in the movies progression, I decided to start here with what was the most expensive recording to date at the time of its release. Home to their best know song and You're My Best Friend, most of its contents were unknown to me and so I have had an absolute blast getting stuck in.

A Night At The Opera is an eclectic journey, a marvel of sorts, squeezing in a helping of styles and cultural echos that defy being packaged. One can hear inklings of Heavy Metal in the lean guitar licks, its unconventional song structures and experimental nature may label it Progressive Rock too but the songs are all their own beast. Like a wild roller coaster the music flows sweetly from its polar ends, Sweet Lady crafts its weighty guitar riffs for a first pumping Hard Rock tune that's close to being anthemic. After blazing the trail with a fiery guitar solo at the end of the song, we are of course swept in to the next number, Seaside Rendezvous, with bright pianos for a pantomime piece full of audio gags and sound effects. The music animates the an image of the stage and its actors.

Its emblematic of the musicians instinct to follow their gut as they breeze through a diverse set of sounds without a hitch. Its experimental side blossoms on The Prophets Song as the music gives way to a mid section of imaginative singing, the instruments fade out and Freddie and his band mates sing and swoon off layers of panned echos and reverberations. It starts off simple with repetitions of words but quickly builds up its gusto and erupts into a foray of vocal melody to delight upon. Making your way through the music one can pick out its anchoring songs as they rotate the theatrics and pantomime with infectious Hard Rock guitar grooves. It all comes to conclusion on the track that incorporates it all in one song, the mighty Bohemian Rhapsody.

Freddie's voice is fantastic throughout to no ones surprise but this record showcases his band mates too, Brian May has one heck of a talent both with his keen rhythm playing and the lightning guitar leads that occasionally erupt into the limelight, dazzling all. Drummer Roger Taylor puts together on a finely crafted song that seems almost ironically casual in its naming, I'm In Love With My Car. This is one heck of a deep record that you can binge over and over. All its flamboyance and diversity is true, giving back over and over again with each spin. Its really fired me up to get into more of their records. What a great band, how many years have a squandered the opertunity to get into one of the all time greats! This was a great decision.

Favorite Tracks: Death On Two Legs, I'm In Love With My Car, You're My Best Friend, The Prophet's Song, Bohemian Rhapsody

Rating: 8/10

Puppy "The Goat" (2019)

Could it be that this new year starts with its best release? If you needed something to sweep you off your feet then The Goat is it. I'd been keenly awaiting English trio Puppy's debut album after adoring their EP Vol II. Id also heard a few of these new songs live at Download Festival and other shows. Now with the music put to wax I hope a spark is lit for them, its become increasingly harder for small acts in the shrinking world of rock music to get noticed. Even with an utterly fantastic debut record like this it may not be enough but this album is a success of its own making.

With an ear for Alternative Rock moods, the stature of Classic Rock licks and momentous sways of Groove Metal's simple bombastic grooves, Puppy electrify through their brilliant guitar work. It requires no exaggeration through dense distortions or cheap thrills. With a sublime vocal presence the album rolls out like a perpetual riff fest that will tug on your emotions and give you a soar neck. The setting is ripe and fond, a keen production that brings the trio together with a crisp crunchy flavor illuminated by harmonious layered vocals that frequently culminate together.

Opening with a Nu Metal syncopated groove to roll back the years, album opener Black Holes gets the record rolling as an example of the dynamism heard throughout. Swaying between crunchy stomping riffs and joyous, emotive chord arrangements the arsenal of riffs lead into a beautiful, earnest singing as it does over and over through the twelve songs. It never tires! This record has been on repeat since its release five days ago and I'm drowning in my adoration for the magic moods it conjures.

As the album progress it feels like the more varied cuts stack up in the second half. A different vocalist on I Feel An Evil, the emergence of a blast beat and a couple of heavier drum patterns keep the records momentum swinging after the timeless sonic grooves of Entombed from Vol II goes by. It holds some of the heaviest riffs and a couple of guitar leads too. It makes for two excellent halves of a whole.

The Goat is never dramatic, self-indulged or too serious. Its continuously fun, uplifting and light hearted yet its music comes from a genuine source of expression. The continual unleashing of riffs will have you writing off lists of bands, riffs and fond similarities, mostly from the 90s decade. As a band they wear their influences loud and proud yet have a dynamite chemistry to express themselves with an originality that can only be known as Puppy. The punch of Metal, the class of Rock, the emotions of Alternative Rock and even a little Grunge ferocity in moments, they have it all.

After a couple of spins a more current, and now obvious parallel, revealed itself. Singer Howard has beautiful vocal range with a tone not far from Papa Emeritus of Ghost at times. Once I made that link tracks like Poor Me sounded uncannily alike in a handful of instances, that and the darkly interpretation of religion in their artwort. There is something similar at work in these bands reinventing the old and its wonderful.

I cannot get over how good this record is. If I had anything to be critical of it would be the formula of the songs. Puppy have such a riveting presence and arsenal of riffs it almost feels as if the music is pegged back from spreading its wings and exploring progressive tangents. The band stick with straight forward structures, three to four minute song lengths and it serves them well but my taste would delight in this group daring and experimenting however its their first record and I shouldn't get ahead of myself, this promising young outfit have well and truly delivered with The Goat.

Favorite Tracks: Entombed, Bathe In Blood, I Feel An Evil, Demons

Rating: 9/10

Sleepy Sun "Fever" (2010)

Californian Rock band Sleepy Sun's sophomore record is a musical experience I hold in high regards. Its peaks echo shivers of the greats, Pink Floyd, Led Zeppelin and King Crimson vibes produce goosebumps however this is no nostalgia act. Fusing elements of Rock music's broader spectrum, Stoner and Psychedelic Rock vibes dominate the focus with touches of Progressive and Post-Rock coloring an ever organic unraveling of vision through inspiration. Composed of nine tracks its one of those records that commands to be lived in full. Traversing its peaks and valleys, electrified eruptions of ecstatic guitar leads engulf acute atmospheres that then descend and dissipate into sombre strolls of folksy acoustic yearnings and surfing psychedelic ambience. Suspense yearns in the shadows it casts.

 Opening with sun soaked melodies to relax the soul, rousing flares of fiery guitar noise break up the harmonica jams and earnest singing, to lead us into tribal jungle jams and choral chants. Its a naturalistic flow that Rigamarro holds over with a soft and dusky bongo led acoustic piece for the eruptions to begin again on Wild Machines. Led on by whistling tunes, unleashed swells of overdrive tonal guitars sludge out a short lived groove that eventually blossoms into a unrestrained force of inspiration as it scales up to a climax. The dynamic is riveting and Ooh Boy and Acid Love tie us down through a shift in tone as we absorb in the anticipation.

With Desert God the record tugs on the heart strings, its careful build through distant rumblings under its timeless melody at front and center let vocalist Rachel Fannan allures us with a soft, serine singing that will soon soar into a roaring of soulful voicing to rumble your belly. Its wholly captivating but far from over. With a flickering percussive rhythm of stick slapping and exotic psychedelic chord reverberations, Open Eyes sways between its entrancing grooves and falling to the soft and comforting breaks, teasing what to come. Eventually it swells up into a dramatic rise, taking both components, elevating and uniting them towards an epic hieght.

Freedom Line brings about some attitude, a sassy baseline purrs with its punchy, binary presence. The withdrawal of guitars gives drummer Brian Tice focus to vibrate a rigid groove that builds its complexity in fractions. We then come to the monumental Sandstorm Woman, a ten minute saga to see the record out with an indulgent high as we descend deep into kaleidoscopic psychedelia. Its colorful construct feels full circle as the return of the harmonica sounds. Its mid tempo pace is challenged by a roaring guitar lead that wails itself into existence. As quick as it came it disappears back into the wash of luminous radiance that is a band in unison.

The song goes on to scale further heights, a remarkable flow of inspired brilliance. This album is gorgeous, its aesthetic has texture, tone and flavor. It captures the spirit of old recordings and feels electric, as if the band were in the room with you. The drum kit sounds especially lived in, the use of effects and reverberations allows the record to ebb and surge. Their performance has a self aware, electric dynamism that the musicians seem to relish within. I can't think of anything bad to say about it other than some tracks are more preferable to others but everything fires on all cylinders and there is much packed in these forty two minuets that you won't be able to forget.

Favorite Tracks: Marina, Desert God, Open Eyes, Sandstorm Woman

Rating: 9.5/10

Greta Van Fleet "Anthem Of The Peaceful Army" (2018)

The lime light is upon these young Classic Rock enthusiasts Greta Van Fleet. The time has come, this is their moment. I was enthralled by Black Smoke Rising and lukewarm on From The Fires but very much excited for this, their highly anticipated debut. With the first couple of listens I couldn't get along with much of it but with persistence I pushed through and found that the record is plagued by misfires that seem to dispel the magic its decent tracks conjure. Its lacking on those too. Anthem Of The Peaceful Army has few heights, some stinking lows and too much mediocrity.

Starting with the good we have the riled up energy of this era niche sound coming out through riffs of attitude and gusto, funky powerful drumming and the wild, soaring voice of Joshua Kiszka but only in a handful of moments. Unsurprisingly it pulls together well on lead single When The Curtains Fall. A song on par with the first EP.

The mediocrity seems to lie in the bands relying on tropes of that era gone by. The energy isn't always within their songwriting but more so the ideas of that time. Its as if the riffs, vocals and general approach to the music falls back on its nostalgic aesthetics, with more care given to capturing those older tones in a modern setting than getting the compositions and emotional direction right.

Then comes the ugly. I would mostly be critical of singer Joshua who, despite a fantastic voice, seems to miss the tone with his lyrics and performance style at times. The end of the record is tedious and his song Anthem seems to be a "come together" song, highlighting current political polarization and offering up a vacuous sentiment in return. Its lack of meaningful substance makes for unendurable listening.

I dislike being critical. It takes a lot of talent and effort to put together a record and as a listener I want nothing more than to enjoy the music but this misses the mark on so many levels. The inconsistency is strange and bar a few good songs this could of been a real stinker from a band who showed so much promise in reviving an old sound. Instead of moving that sound forward they seem to have circled the waters with little idea of where to go next. Very disappointing.

Favorite Tracks: When The Curtains Fall, Watching Over, Mountain Of The Sun

Rating: 5/10

Greta Van Fleet "From The Fires" (2017)

Following up on Black Smoke Rising we have an unusual release from the greatly hyped Greta Van Fleet. Its marketed as a double EP, eight songs that could of been an album however four of the songs are from the aforementioned release. So its like another four songs released alongside the last. Because of that Ive just focused on the new independent tracks, of which two are covers. That was unknown to me before writing this up, perhaps it serves as a testament as to how well they embody the era that inspires them since I was none the wiser, these songs fit sweetly into the run time.

These songs took a little longer to get into and I believe that's because these are the less dynamic cuts. They don't aim to dazzle up front with hard hitting licks but sneak up on you as their atmospheres build in intensity. Both the originals here culminate in guitar solos after the songs tempo feels hastened in the rising tide of instruments steadily raising the energy. The cover songs also ask something more from front man Josh Kiszka who certainly rises to the occasion without a sweat.

Admittedly I felt these song illuminated their potential to reach more crevasses of this era but in reality its a patchy release to comment on with just two originals. With an album arriving in just a month we will find out what this band is made for. Until then I will continue to enjoy these EPs very much so. Its been a while since Ive been so excited for a band outside my musical comfort zone and this is it!

Favorite Track: Edge Of Darkness

Rating: 5/10

Greta Van Fleet "Black Smoke Rising" (2017)

Do Greta Van Fleet live up to the hype? Does it even matter? Music should be about what you get out of it! If you can connect with the artists vision there is often something wonderful to be enjoyed. That is certainly the case for me and I even got to see them live earlier in the year at Download Festival. I really wish I had got to spin these songs sooner as I would of really dug that show. Familiarity and repetition are important for getting to know music but the reality is I was already singing along by the third listen. The four songs that make up this record are fantastic.

Hailing from Michigan USA, Greta have fallen under the spotlight for their enigmatic revival of 60s Rock, frequently being compared to the likes of Led Zeppelin. It is singer Josh Kiszka, one of the three brothers, who's electric singing makes them stand out. His howling voice hails back to that era vividly and compared to anything popular, or within my scope that's happening right now, he stands alone. It is a little unfair to focus on him alone though, the rest of the group embodies this era too.

Across these four songs you may be thinking this is a nostalgia trip but whats really making this music tick is the songwriting. The hooks are driving and powerful, the keys and organs gleam with that spark Lynyrd Skynyrd had. The music develops its themes and channels them into fantastic eruptions of energy when Josh kicks his voice into fifth gear and the guitars rise up with the hard grooving licks. Between its brilliant choruses the verses set the tone for whats to come, keeping you anticipating the shifts and waves of mood and charged emotion that come with it.

Another thought crosses my mind. This is not a style and era of music I'm that well versed in and so they could be plugging a void. The production is modern, bright and crisp, so much so to make the music far more inviting compared to the soft and muted recordings of times gone by. As I said up above, music is what you can get out of it. If you've exhausted everything from a style you like then its hard to get excited about new music in the same vein. I can see why fans of Classic Rock are skeptical but there is a huge opertunity here for a new generation to discover some truly fantastic music.

Favorite Tracks: Safari Song, Flower Power, Black Smoke Rising

Rating: 7/10

Cardiacs "Sing To God" (1996)

These English rockers second to last record, Sing To God, is a wild ride of a double album! The mistress of its own madness, this eclectically eccentric display of intensified ideals pummels the listener with its dense wall of sound. An unending sprawl of musical mania unfolds as the four piece sound arm themselves to the teeth with attitude and energy to sound like a orchestra on an adrenaline rush. Every note, melody and sung lyric is reinforced by this cacophony of instruments turned to eleven and itching to blast their sound in unison.

These compositions will have one lost in a madhouse as songs leap, lunge and erupt with every shift in structure. Opportunities to jump ship on tempo, pace, time signature and mood are taken, throwing one of the scent frequently. Through this apparent absurdity some very English and Classic Rock musicianship can be heard, echos of Progressive Rock and especially Queen disguise themselves as all the instruments line up like a band of red faced lunatics trying to out play each other, blowing themselves out in the processs.

Its a wonderful experience for those who seek it. A wall of sound that undoubtedly had an influence on Devin Townsend. It was one of the first things I picked up on and subsequent research revealed this is one of his favorite records! The production lends itself kindly to instruments who's aesthetics are charged, frothing and ready to synchronize with anything that steps near. Its a continual treat, whenever a melody is played or sung, before it can finish making itself known an arsenal of competing sounds rush in to make that dizzying wall of sound come to life with a touch of hysteria.

At ninety minutes it tests its listeners endurance, the psychedelic lunacy ceases to let up for a rest and its length may be unnecessary in getting a point across. At times its nutty tone slips into aesthetics where simpler themes emerge but that is just a response to the expectant complexity displayed, its only disappointment is a reliance on fade outs which usual land on a new section of music that's cursed to shadows. Many of my favorite moments are on the first half, by the time the second comes around its worn me down, which I love. Its filled to the brim with creativity and a nutty sense of radical fun that's a race to the finish line only the band will ever win. A very notable record worthy of any acclaim.

Rating: 8/10

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Pearl Jam "Ten" (1991)

Peral Jam are an American Rock / Grunge band who rose to fame in the early 90s with the explosive popularity of Grunge. Coming straight out of Seattle, the scenes origin, the group would release their first and best selling album "Ten" in 1991. The record was not an instant success but continued to steadily sell and picked up steam the following year. It has since gone 13 times platinum in the US alone and has helped cement their place in Rock history. Despite being a seminal act of one my favorite eras of music, I had hardly ever heard the group before, so I picked up this album with very little idea what to expect.

My first impression was good, but quickly I found myself asking "Is this grunge?". Softer guitar tones, less aggression and gliding, passionate vocal leads painted a Alternative/Classic Rock feel to a record that swiftly captivated me with composed rocking grooves, subtle melodics and Eddie Vedder's mighty, captivating presence as the front man who pours an immense amount of heart into his free flowing afflictions and anthem like singing. Before I barely knew a song I found myself singing along to his wild descending ascending vocal hooks on "Alive". Singing and lyrics are often like another instrument to me, and although they sit in the forefront of much music, its not often I find myself engrossed in what their doing. I've been scratching my head trying to remember when a singer last captivated me like this, but Vedder's passioned singing is memorizing and by grabbing my attention so vividly he lets the quality of the music behind him speak volumes in a subtle magnitude, before breaking out explosively in the moments of his absence.

The chemistry between the instruments is dynamic and powerful. The group achieve a big rocking sound with no need for heavy overdrive or cheap tricks. On the track "Why Go" the guitars slam in over a glistening bass line with a mammoth, melodic groove. There is a big space in the sound, the drums rattle away orchestrating the rhythm and although feeling distant from one another they fill this space rocking out Classic Rock riffs with a jamming feel. On particular tracks the group bust out into guitar solos that have a magnetic energy to them as they wildly shred leads reminiscent of Skynnard and Hendrix over a steady bass. The more I talk about it the less I see the Grunge. This group just rock hard in a classic style, but bring a newer sounding tone and drive, complimented by Vedder's theatric perfomances.

The group also calm the mood with some dreary melodics and quieter, progressive numbers that build up big atmospheres. All of this is amplified by the subject matter of the lyrics which are surprising candid and bold. Tackling topics of suicide, depression, abortion and mental illness this album strolls through dark territory while maintaining an upbeat mood. The track "Jeremy" really pulls at the heart strings as Vedder sings tribute to a young boy who took his life in front of his classmates, a mental state reached from the abuse suffered at home and from his peers. Its a climactic moment in an album full of terrific songs, the sort that closer examination just yields more admiration of the instrumentation that can sometimes feel I little hidden behind Vedder enigmatic performances. A stunning debut record.

Favorite Songs: Even Flow, Why Go, Jeremy, Release

Rating: 9/10

Messenger "Illusory Blues" (2014)

I had the pleasure of catching this new emerging band at the union chapel in London supporting Casualties Of Cool. The setting was quite beautiful sitting in the pews of the communal church, the atmosphere in there was rich and absorbing and I found myself captivated by the harmonious aura their performance brought fourth. It didn't take me long to realize this was something special. Immediately after the show was over i headed to the merchandise stall to buy myself a copy of their album. Since then its been stuck in my CD player, and in my mind.

Messenger, and this album, have come out of nowhere to deliver us some exceptional Progressive music thats reminiscent of the great acts, from Floyd to Opeth, Porcupine to Genesis, there are influences to be felt in many moments, but through the similarities, Messenger really hold there own here. On this record they drift through many different musical passages with a strong melodic hold accompanied by some grandiose, honest vocal leads that resonate through the songs. Theres everything from dreamy, ambient passages, to heavy Zeppelin-esque riffs and its all beautifully bound together through some great musicianship, song structure and a great sense of melodic progression.

The icing's on the cake here. This album offers a lot to take in for the listener, and after many spins i am still absorbing much of the layered instrumentation. The recording here is befitting with no noticeable issues, however there are a few distortions i suspect where for effect in the heavier, riff oriented moments. This album is exceptional, i am liking it more with every listen and very glad i had the pleasure of seeing them live.

Favorite Tracks: The Return, Midnight, Somniloquist

Rating: 9/10