CONSTANCIA – LOST AND GONE
3rd July 2009 / Frontiers

A new band/project featuring Janne stark (Overdrive, Locomotive Breath), David Fremberg (Andromeda) and Mikael Rosengren (Scudiero, Token).  According to the record company blurb, Janne calls this “melogressive metal”, and references it to pomp rock. I can kind of see his point. Magnum is a name that occasionally comes to mind when listening to this album, but overall the music is heavier than the average pomp rock fare.

 Thundering riffs compete with big vocal harmonies for the listener’s attention. The keyboards are supportive rather than dominant. Overall, the songs present a mix between AOR and epic heavy metal. While all the songs have a melodic hook, there isn’t one that really immediately grabs your ear.

 Fremberg is an excellent singer with a powerful voice. Stark is quite an accomplished guitar player and he really excels on this album. The other musicians’ performances are beyond reproach; the rhythm section of Michael Muller and Peter Svensson lays a solid foundation and Rosengren’s keyboards fill the sonic spectrum with an additional colour.

The production is solid. being dry and tight, with a well balanced mix. The album loses focus a bit towards the end and comes to a rather uneventful finale. Maybe one less song, or an up-tempo closer would have assured it went out with a bang.

Hot spots : Trouble Maker, Dying By Your Flames, Life Is A Mistery
Rating - 83%

The Crash The System project came about as a collaboration between song-writer and former Finnish 400 meters hurdle champion (!!) Sören Kronqvist and drummer/producer Daniel Flores (Mind’s Eye / The Murder Of My Sweet) in the fall of 2008.  Sören and Daniel decided to make a project together with songs they enjoyed writing. Thanks to Daniel's extensive music background, good reputation, and connections in the music business he managed to bring in some of the top names in Sweden into the project,  such as vocalists  Göran Edman (Ex-Yngwie Malmsteen, John Norum, Brazen Abbot, etc), Mats Levén (Ex-Yngwie Malmsteen, Ex At Vance), Thomas Vikström (Ex-Talk Of The Town, Candlemass, etc) and Björn Jansson (Ex-Ride The Sky, Tears Of Anger). Additional guitars on the project come from Johan Niemann (Mind's Eye, Therion), Daniel Palmqvist (solo, The Murder of My Sweet), and Manuel Lewys (Machinery, Elwood, etc) with additional keyboards by Andreas Lindahl (The Murder of My Sweet) and additional backing vocals by Angelica Rylin (The Murder of My Sweet).  Going by these lists of names they are all Flores connections and to be honest going by the standard of music on offer I have to say I have my doubts as to whether those names would have agreed otherwise, as its really just very average AOR/melodic rock with very little thrills or originality. 

What you get are typical AOR song structures with a slightly more modern edge, dare I say it but there is a feel of Eurovision about some of the tracks, some it’s often quite cheesy in places, compared to say really good Frontiers AOR releases of late from Sunstorm etc.  There are a few tracks that provide salvation – notably the heavier “Take A Chance”, “Angel Of My Heart” and album closer “All Because Of You” – but for the most parts is very average. The production is good from what I can tell, although it’s not entirely easy to tell with Frontiers 143kbps promo sample rate.  However, the performances are good from all involved, but the songs lack a spark and connection between the numerous musicians in the tracks – granted this isn’t a problem solely experienced by Crash The System but rather a number of  other so-called “projects” these days.  If you like previous works of the musicians involved I strongly suggest you listen to some samples first before you shell out your cash on the album as you may well be disappointed.

Overall a very average release from some of melodic rock’s top players.

Rating – 55%

STEEL PANTHER - FEEL THE STEEL
Out Now / Island Records

 

If you like your metal serious, you may wish to skip this review. It took me a while to get over my own preconceptions…

Steel Panther is a band that consists of some veterans of the LA scene, most famous of which is Russ Parrish (Fight). Apparently they are a hot live act, doing a tribute to eighties metal in the clubs.

The band now present their first album of originals. Well, originals… Steel Panther proudly wear their influences on their sleeve. The songs sound like a compilation of the best writings of early Bon Jovi, Ratt, Skid Row. All will nestle in your head immediately. You’ll be humming the chorus of “The Shocker” all week! With titles like “Death To All But Metal”, “Asian Hooker”, “Eatin Ain’t Cheatin” the tone is set : gloriously stupid, lecherously sexy and so much fun it should be illegal. It’s both a parody and a tribute, and this is why the album works.  Yes, Steel Panther are poking fun at the hairband clichés, but they do it with such obvious affection and musical skill it’s impossible to take offense.

The album is graced by several special guests, including Scott Ian, Corey Taylor and Justin Hawkins, to name but a few. None of them are intrusive, although Hawkins’ distinctive wail is very noticeable. It’s impossible to pick highlights but, more importantly, there are really no stinkers on this album.

Production is exceptional. This album erupts from your speakers with the kind of sonic impact that brings back fond memories of Van Halen’s debut or Skid Row’s Slave To The Grind. Huge guitar tone, pounding drums, perfectly balanced. A masterclass in production for this style of music.

Is this album original? No.
Does it kick ass? HELL YEAH!!

Rating - 97%
Review by Joost Vlasschaert

Best known as the singer for Rough Cutt, with whom he released two great albums in the mid eighties, Paul Shortino has been going it alone since the early nineties. Not the most prolific artist, his albums are usually very enjoyable, especially his efforts with guitarist JK Northrup.  Unfortunately, Northrup wasn’t invited for this album, his place being taken by Mad Max singer/guitarist and Metal Heaven mainstay Michael Voss.

 The first thing you notice is the production which could have been a lot better. Voss’ guitar sounds buzzy and lifeless, and the overall mix is sterile. No mention of a drummer goes a long way in explaining why the drums sound lifeless and bland. C’mon guys, a drum computer? Seriously??

Most of the songs suffer from a forced attempt at sounding “contemporary”. Well, if slight industrial and alternative touches can still be considered contemporary, that is… The songwriting is competent if not inspired, with the exception of the excellent “Promises” and “Great Dreamer”.  Shortino remains a superb singer, but even he can’t rescue this album from mediocrity.  His performance throughout is beyond reproach, but he sounds like the only one who cares about the music.

The whole genre of melodic rock seems to be suffering from homogenization. There’s a couple of names that pop up on every other release and while these guys may be talented, they’re stretching themselves too thin. Every label seems to have their go-to guys. Not a good evolution if you ask me. Sign a band, not a project!

Disappointing, if not completely dire.

Hot spots : Promises, Remember You, Great Dreamer

Rating - 55%
Review by Joost Vlasschaert
 

Best known for his work in Savatage and TSO, Chris Caffery has released several solo albums over the last couple of years. These are mostly patchy efforts, with some good songs balancing weaker material.

 It is no different on House Of Insanity. Opening track “Seasons Change” is a good enough kickoff, but the vocals sound anaemic. The title track is essentially a Savatage song, with some King Diamond influences injected. Likewise, the ballad “Winter In Hamburg” could have been on any of the later Savatage albums. There are 13 tracks on this album, running 68 minutes. I can’t help but think the album would have scored better with only the best 8 or 9 tunes present.  The Savatage influence is quite apparent on several occasions but completely absent on others. At best, the album sounds like a Savatage demo, production wise as well.

Chris is a fine guitarist and he amply demonstrates it, but there’s no escaping the feeling he’d be better off in a real band, with a good songwriter and singer.

Rating - 70%
Review by Joost Vlasschaert