JUNE 2007 REVIEWS IN BRIEF

Canvas Solaris - Cortical Tectonics
Sensory/Laser's Edge - out now

Canvas Solaris offer up something different for the prog metal crowd in that their trademark is a complete lack of vocals!  Originating from death metal roots the band dropped their vocalist and started afresh under the Canvas Solaris name.  On their new album (their third) “Cortical Tectonics” the Georgia based band offer 6 tracks full of rapid time changes, intricate riffing and drumming that would probably be best labelled as ‘futuristic instrumental jazz progressive metal’. 

This certainly is not for the faint of heart and will probably only appeal to the most hardened instrumental fan, even then you may find that you are completely baffled by what the 3 piece of Nathan Sapp (lead guitars and keyboards), Ben Simpkins (rhythm guitar, bass guitars, keyboards) and Hunter Ginn (drums, percussion, keyboards) come up with in places yet won over in others. 

Opener “Beserker Hypothesis” is frantic to say the least and at just under 4 mins has more happening in this time than many bands can lay claim to over an entire career.  “Sinusoid Mirage” is the more accessible track on the album with a calmer air for the first 2 minute with plenty of Fender Rhodes cool before the metal attack re-enters yet manages to remain relatively digestible.  “Interface” is my favourite possessing an air of cool about it, with great guitar interplay and superb production and a laid back vibe.  “Gamma Knife” sees the metal attack come roaring back yet by now you are starting to feel that maybe you have a handle on the music and even the vast number of time changes now seems palatable.  “Rhizome” is a nice blend of the styles heard so far and again is likely to appeal to fans of say Dream Theater’s extended instrumental sections whilst the heavyweight 17 minutes of closer “Reticular Consciousness” again sees chilled vibes blended with full on prog metal prowess yet is hard going after the 10 minute mark. 

As good as the music is, the lack of vocals do lead to an air of exasperation. I found listening to the album in one solid block hard after 3 tracks and this is where vocals would only enhance the music further. Even with vocals the band would possess a very personalised identity as its hard to pin the music down to other bands and most likely open them up to a wider fanbase, yet incorporating a vocalist into these arrangements would also be challenging to say the least – catch 22?  As it stands the album is enjoyable with the musical skills levels never being in question yet I can’t help feel something is missing.

Rating – 75%

 

Thomas Larsson - Harmonic Passion
Grooveyard Records - Out now

Thomas Larsson for the uninitiated is one of Sweden’s hottest guitarists and manages to steer clear of Yngwie waters which seem to infest so many players from one of Europe’s best countries for hard rock.  Perhaps best known for lead guitar duties in the early 1990’s for the voice of rock Glenn Hughes (Larsson played on the “From Now On” and “Burning Japan Live” albums), Larsson will also be a name recognised by anyone that is familiar with a lot of the Baltimoore back catalogue and most recently handled lead work on the bands current release “X”. 

“Harmonic Passion” is Larsson’s second solo album and first instrumental release.  Larsson is somewhat of an enigma when it comes to guitar tones, using amplification which is predominantly self-built the guy is a tone hound and this disc is literally brimming with guitar tones.  Anyone with a passing interest for vintage guitar tones will liken this disc to say the magazine a porn aficionado could only acquire under the counter on a special trip to Hamburg!

Larsson presents a sound that is clear, articulate, full of dynamics and home to superb warmth.  Having been fortunate to witness Thomas live and seeing him backstage playing an electric guitar unplugged a lot of that tone is in the hands, but there’s gotta be some mojo in his self built amps!  Regardless of where the mojo is coming from “Harmonic Passion” runs through several genres all of which show Larsson to be a master player with a style that is unique.

If pushed to compare the album to others I would say it’s somewhere between Eric Johnson and Uli Jon Roth with great phrasing, great melodies and great touch.  Yet unfortunately too many of the songs fall into mid-tempo syndrome with nothing that really stokes the fires and gets you truly excited, every track has flashes of brilliance from Larsson but the album is missing a certain something and comes across more of a demonstration of Larsson the tone purist and I felt the album would benefit from Thomas going for the jugular a little more in places.

Guitarists will enjoy it on the basis of the great tones alone, yet the more casual listener may well find themselves drifting in the odd place.

Rating – 80%

Freedom Call - Dimensions
SPV - Out Now

Power metallers Freedom Call formed in 1998 and since have released a succession of albums and toured with the likes of Saxon, Blind Guardian and more recently Dragonforce.  Having gained a solid reputation “Dimensions” marks their sixth studio album to date and it’s my first exposure to the band.  The band are known for a melodic and up-tempo sound (according to their fans on their bio) which is a fair assessment; but the only problem with this is that is also makes them sound like pretty much every other band in the power metal movement. 

Whilst “Dimensions” is an enjoyable enough album there is nothing here that strikes me as original, this is not a criticism I am aiming  direct at the band as the same accusation can be thrown at many of the power metal bands but I guess you give the fans what they want.  So whilst all the power metal ingredients are here i.e. fast riffs, “majestic” choruses, and some good solos there is still the feeling of having heard it all before.  I am sure Freedom Call fans would be able to point out all the finer details between this album and the back catalogue but coming to it with a fresh set of ears only a few tracks stand out from the pack, “Queen Of My World”, “Blackened Sun” and “Magic Moments” all of which are enjoyable tracks and tend to steer off the stock power metal road. 

Overall a solid album but nothing truly killer that makes it an essential purchase in the power metal genre.

Rating – 70%

Kamelot - Ghost Opera
SPV - June 5th 2007

Kamelot are back with their 8^th studio album in “Ghost Opera”.  As the title suggests this is pretty pompous epic metal but much more accessible than say Rhapsody Of Fire.  Vocalist Roy Khan (Conception) is quite unique in this genre as he doesn’t possesses the high pitched operatic wail of many of his contemporaries and his strong voice helps separate Kamelot from the pack. 

Opening with the brief violin led instrumental “Solitaire” the album quickly pulses into life with the superb “Rule The World” which is home to a great riff, great orchestration and a great vibe from Khan.  The title track sees orchestration playing another strong role with a faster tempo before settling down for the verse which sees Kahn sounding like Geoff Tate’s cousin.  The track is good but not as strong as the predecessor and marks a precedent for most of the following tracks as well with the exception of “Up Through The Ashes” and the multi-faceted “Silence Of The Darkness”.  The rest are good songs but none seem to possess the killer instinct of the aforementioned “Rule The World”.  Guitarist Thomas Youngblood is a strong player, very competent but comes across as a little faceless when compared to some other players in the genre in the lead department.  The rhythm section of  Glenn Barry (bass) and Casey Grillo (drums) are a very solid partnership preferring to play for the song as opposed to showing off their talents to the detriments of the song which is all for the betterment of the music.  Adding another twist to the Kamelot sound are the female vocals which although generally aren’t my taste work well here. 

Overall Kamelot have delivered another strong album which although not being totally killer is a good release in its own right.

Rating – 80%

Tesla - Reel To Real
Tesla Electric Company Recordings - June 5th  2007

Sacramento rockers Tesla were always one of my favourite 80’s and 90’s rock bands, having never released a duff album in their first 4 album onslaught (Mechanical Resonance, The Great Radio Controversy, Psychotic Supper, Bust A Nut) the band amidst the alternative mid 90’s split and reformed in the new millennium for the well received (if not killer) ‘Into The Now’.

Tesla has often been viewed as the next step on from the 70’s rock scene (albeit updated) and have been known to do covers throughout live sets. So with a fad of recent years for bands to cover albums Tesla have done their own in “Real To Reel” with tracks from Deep Purple (Space Truckin’), James Gang (Walk Away), Guess Who (Hand Me Down), Bad Reputation (Thin Lizzy), Led Zeppelin (Thank You), The Beatles (I’ve Got A Feeling), Robin Trower (Day Of The Eagle), Temptations (Ball Of Confusion), UFO (Rock Bottom), Uriah Heep (Stealin’), Eric Clapton (Bell Bottom Blues), Rolling Stones (Honkey Tonk Woman) and Traffic (Dear Mr Fantasy). For the most part these are very authentic renditions and Jeff Keith’s gritty vocals work well across the number of rock styles on offer (and soul). The guitar duo of Frank Hannon and new member Dave Rude (having replaced Tommy Skeoch have a tight partnership peeling off all manner of classic licks with consummate ease. Every track has its moments of greatness but best bits to these ears are Bad Reputation, Rock Bottom (yes with the classic extended solo) and Honkey Tonk Woman.

an enjoyable release for fans of the band and for American fans if you buy a ticket to see the band in concert you will receive a second disc of another 12 classics which is rather appealing indeed when you see tracks from Aerosmith, Montrose, ZZ Top and Lynyrd Skynyrd amongst others.
 

Rating – 80%

Ozzy Osbourne - Black Rain
Epic - Out Now

The self proclaimed ‘Prince Of Darkness’ is back with his ninth album in ‘Black Rain’ and by his side if Zakk Wylde on guitar, ex Faith No More drummer Mike Bordin and bassist Rob "Blasko" Nicholson for 10 tracks which present nothing revolutionary from Ozzy; and to be honest there is nothing here that comes remotely close to blowing me away.

It pains me to say it but Ozzy really has been treading water for the best part of 20 years now, most albums are generally salvaged by one or two tracks and 'Black Rain' fortunately does have some good moments in the title track, ‘Silver’ and ‘Cilvilise The Universe’. But for the most part its all rather predictable with clichéd lyrics and riffs, opener ‘I’m Not Going Away’ is stale, the first single ‘I Don’t Wanna Stop’ is cringe worthy with one of the most obtrusive choruses I have heard in sometime, yet no doubt the Sharon Osbourne marketing strategy will make sure there is a fresh batch of teenages that will latch onto this. Zakk Wylde who showed such promise on the first couple of Ozzy albums and even more on his Pride & Glory album has become a total parody of himself, with enough pinch harmonics thrown into really help a lot of the songs become one repetitive mess and most solos being indistinguishable from the next – a shame. Bordin and Nicholson do hold down the bottom end well and I suspect these guys will deliver the goods live too. The obligatory ballad 'Here For You' is sickly sweet whilst closing track ‘Trap Door’ would be better if not for a vocal melody that doesn’t work over the riffs.

Overall I really wanted to like ‘Black Rain’, this is Ozzy, I want to be blown away yet here we are in 2007 and another mediocre album is thrown into our laps. Next time I will be checking out some samples before giving more of my money to the Osbourne Empire. Hopefully some original fire can be rediscovered by then!

Rating – 50%