The one word I would use to describe this album is schizophrenic. For most of the first half it alternates between superbly enjoyable, if not especially original melodic hard rock, and at times risible parody.
Starting on a high with the Stones/INXS/Killers mash up of "Last Day Under The Sun", (which was one of my picks of the best music released in June as an advance single), before flipping into "Pelvis On Fire" that, along with a title that even Justin Hawkins of The Darkness might baulk at, also has Elvis impersonating "Uh-uhs". Talk about about sublime to ridiculous!
Back to the sublime, (if still confusing stylistically), again with the next track, "Rewind The Exit". Starting off with a great 1980's style metal riff before becoming a Coldplay style indie rock anthem. It the reverts to the metal riffing again after the bridge before the solo, back to the indie rock before riffing out to the finish. Hope you're all keeping up, and this is just one song!
Punk pop is the order the day next up on "Die To Live", and completely forgettable before turning back to indie rock with "When We Were Kids" which could easily be "Chasing Cars 2: Euro Rock Edition", were it not for bizarrely becoming Dream Theater for the instrumental middle section. Enjoyable, if again,showing the influences a little too clearly.
Back down hill again with "Sorry Sack of Bones" which sounds like a cartoon theme song before the ghost of "Summer of '69" introduces "Cloud 9" that opens up into soaring anthemic rock. Unusually this album is far more consistent in the second half and "Cheapside Sloggers" continues the split personality with singalong and thrash metal sections before "Maybe I Believe" takes the groove of The Black Crowes version of "Hard To Handle" and merges it with riffs that echo The Pixies "Where Is My Mind?".
"Leviathan", along with the opener is the other centrepiece track on the album, and from here it continues in much the same vein to the end. I defy you to listen to the first few bars of "The Awakening of Bonnie Parker" and not think you're about to hear a Phil Spector produced pop classic. It isn't that, but again it is highly enjoyable and melodic hard rock.
"The Everlasting" flips between a Metallica-like deep cut before switching to soaring melody for the chorus. "7:24" brings things to a driving and melodic close.
It might seem that I am being overly negative about this album, so I should reiterate that there is much to enjoy here. However, the negatives stand out so clearly precisely because of the rest of the album has such a joy and fun to it. The word melodic comes up again and again in my descriptions of the songs, so the core of something great is there. Maybe a different producer might have conjured up a better balanced album overall.
With some judicious pruning it would be one of the ultimate good-time Saturday night albums. As it stands it falls short of that, and is only recommended in edited form. Cut tracks 2, 4, and 6 and you would be left with an 11 track album of thoroughly enjoyable hard rocking goodness.
"It's the last day under the sun...."
Starting on a high with the Stones/INXS/Killers mash up of "Last Day Under The Sun", (which was one of my picks of the best music released in June as an advance single), before flipping into "Pelvis On Fire" that, along with a title that even Justin Hawkins of The Darkness might baulk at, also has Elvis impersonating "Uh-uhs". Talk about about sublime to ridiculous!
Punk pop is the order the day next up on "Die To Live", and completely forgettable before turning back to indie rock with "When We Were Kids" which could easily be "Chasing Cars 2: Euro Rock Edition", were it not for bizarrely becoming Dream Theater for the instrumental middle section. Enjoyable, if again,showing the influences a little too clearly.
"Leviathan", along with the opener is the other centrepiece track on the album, and from here it continues in much the same vein to the end. I defy you to listen to the first few bars of "The Awakening of Bonnie Parker" and not think you're about to hear a Phil Spector produced pop classic. It isn't that, but again it is highly enjoyable and melodic hard rock.
"The Everlasting" flips between a Metallica-like deep cut before switching to soaring melody for the chorus. "7:24" brings things to a driving and melodic close.
It might seem that I am being overly negative about this album, so I should reiterate that there is much to enjoy here. However, the negatives stand out so clearly precisely because of the rest of the album has such a joy and fun to it. The word melodic comes up again and again in my descriptions of the songs, so the core of something great is there. Maybe a different producer might have conjured up a better balanced album overall.
With some judicious pruning it would be one of the ultimate good-time Saturday night albums. As it stands it falls short of that, and is only recommended in edited form. Cut tracks 2, 4, and 6 and you would be left with an 11 track album of thoroughly enjoyable hard rocking goodness.
"It's the last day under the sun...."
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