The British rockers Massive Wagons’ sixth record Triggered! (Earache Records) is another dose of their tried and tested, anthemic classic rock. It is still laced with humour, big riffs and abundant hooks but more raucous. Alongside The Darkness and Slade influences of their last record, the top ten House of Noise, are heavier moments, a touch of soft rock and a bit of reggae.
The Gang’s All Here (earMUSIC) is the sixth album from New Jersey’s Skid Row. Of course, the gang in question is somewhat different from the one that emerged in the late eighties with Sebastian Bach at the helm. The core lineup of guitarists Dave “The Snake” Sabo and Scotti Hill plus bassist Rachel Bolan has remained since 1987, but many drummers and singers have come and gone since the band’s 1999 reformation. Rob Hammersmith has sat behind the kit since 2010, whilst former Swedish Idol winner Erik Grönwall only joined earlier this year, replacing ZP Theart.
Since relaunching Bush in 2010, the Gavin Rossdale and Chris Traynor partnership (Traynor taking on the right-hand role in the band once Rossdale resumed performing under the Bush banner in the stead of the retired Nigel Pulsford) have, in an understated way, added to the band’s legacy, producing five albums, and a slew of consistently decent tunes.
Canadian quartet Monster Truck have returned with new album Warriors (BMG). This is their fourth record and the title track kicks things off in fine fashion – it is a bouncy number with retro, eighties-era Iron Maiden guitar harmonies provided by guest axeman Dave Baksh of Sum 41 fame. This track sticks to Truckers tried and tested formula, fuzz drenched southern rock with chunky riffs, catchy choruses and chant along backing vocals that do not outstay their welcome.
This recipe served them well on 2018 predecessor True Rocker and the same is true here, as the propulsive, no nonsense boogie of ‘Golden Women’ shows. Perhaps the best taster of this is ‘Fuzz Mountain’, a Black Sabbath inspired chugger which is helped along by the insistent background hum of keys.
One of the things that was great about growing up in the seventies was the soothing, grounded music. There was an earthiness to some of the music that just made the listener feel good. The songs weren’t too complex, nor were they too simple; they just existed to make the listener get in tune with their surroundings. Fast forward fifty years and life is just more complex and frenetic. This is reflected in some genres of music. It can be a struggle to find earthy music that makes you feel good.
Clutch, the irrepressible quartet from Maryland, America have just graced our ears with a new record Sunrise On Slaughter Beach (Weathermarker) – their thirteenth record, coming four years after Book Of Bad Decisions. It is unmistakably a Clutch album, full of hearty riffs and deft turns of phrase, but it is a shorter and more varied one than its predecessor.
Having formed in Buffalo, New York only two years ago in the midst of the pandemic, metalcore quartet Until I Wake have rapidly managed to create a name for themselves in a style that some are beginning to consider outdated. Disregarding that entirely, the band signed to the prestigious Fearless Records and made their debut album Inside My Head, putting the sound that they genuinely love ahead of following new trends. Continue reading
The American quartet Tyler Bryant & The Shakedown have a new album Shake The Roots, and it is the first on their own record label Rattle Shake Records. Their first independent album, and their fifth one overall, comes two years after Pressure and was recorded at frontman Tyler Bryant’s home studio in Nashville. It is a refreshing exploration of blues and rootsy rock, with plenty of dirty grooves, classic rock riffs and southern twang.
Hot on the heels of last year’s four-track EP Nocturnal Youth, comes Pistols At Dawn’s latest album Ascension (JFL Entertainment). The Atlanta-based quintet’s sound is alternative-influenced hard rock, and their newest one Ascension is a promising if patchy, display of heavy grooves and soaring choruses with a brooding atmosphere. Continue reading
From the opening strains of guitar riffage, I feel like I’ve been transported back to my teenage years (the eighties / early nineties). Then I’m like, is that a cowbell? Surely not? But ZOMG, I’m having flashbacks. The hair. The jeans. My Samik bass. By two minutes in, I’m singing the refrain from ‘Trial By Fire’. This is an instant in the feelings. Continue reading