Tag Archives: Pat Benatar

The Agonist – Eye of Providence

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In case you haven’t been following the story of The Agonist in the last year, they were in the unenviable position of making a change in the voice and face of the band when mainstay Alissa White-Gluz was hand-picked as the new Arch Enemy singer. Even more tricky… the band seemed to not want her to go, as an upstart band on the same label as Arch Enemy, so you might say the band was in a perilous situation. On top of that, the band was facing pivotal album number four in their career, so to say they had a challenge before them on many fronts, would be an understatement.

However, the band triumphantly rose up and actually created a release with Eye of Providence (Century Media) that stands on equal footing with the bands finest work to date. New singer Vicky Psarakis added last summer injected a her own style, while not changing what the bands make-up musically was at all. Her screaming is on par with White-Gluz, with a brassy contralto, mid-range singing voice; not unlike the best female rock singers in history such as Ann Wilson, Pat Benatar or Linda Perry. This gives Psarakis a grit to her delivery that adds to the emotion of the tracks. Many of the hallmarks of the bands’ past are present on Eye… : anthemic metalcore songs, guitar wizardry, killer double-kick beats, and the pristine production of of long-time producer Christian Donaldson (Crypstopsy).

And the songs! This album has strong, well-written tracks, each with their own identity, but firmly in the tradition they have had. From the blistering opener ‘Gates of Horn and Ivory,’ ‘My Witness, Your victim’, ‘I Endevour’, ‘Perpetual Notion’, ‘A Necessary Evil’ and many more, this album runs the gamut from thrash, prog and rock over and over again. Most of the album carries the positive and impassioned messages associated with them. Acknowledging that it is really hard to lose a singer, especially one so popular with fans, The Agonist has surely proved a lot of doubters wrong here.

8.5/10

KEITH CHACHKES


Liv Kristine – Vervain

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Now apparently, this latest effort from Leaves Eyes vocalist Liv Kristine has been sold to us as ‘Ambient doom’. I can safely say that no version of doom has been anywhere near Vervain (Napalm) but within is a sound of some melancholy, despite adding only a touch of gravity to the more expected symphonic template.

Opening track ‘My Wilderness’ houses a sense of despair, lush keys creating a stirring atmosphere while Liv’s heavenly tones are accompanied by haunting backing vocals. The ensuing ‘Love Decay’ features dramatic 80s goth vocals from End of Green‘s Michelle Darkness, adding to the dark pop-rock feel which is given further piquancy by an spiky riff and crashing drums. The title track’s strange synths and gentle but driving beat underpin a gorgeous vocal which is Tori Amos-like at its height: indeed the quirky Goddess is evinced on a number of tracks here, not least in the roughed-up dub of ‘Creeper’ and closer ‘Oblivious’, both full of sparing leads and woolly key fills in the worst traditions of 80s AOR.

It’s a plaintive sound, that largely gothic instrumentation and dark, icicle-drop keys giving the style expected to the Benatar-ish ‘Stronghold of Angels’, which is given a harder edge by a wonderful contribution from Doro Pesch and some heady harmonies. Though devoid of extremity, even weaker moments such as the occasionally feeble ‘Hunters’ are given a little oomph by Kristine’s soaring, crystal-clear voice, full of emotion; the layered backing vocals; and those ‘riff and rhythm’-laden choruses. There’s a hint of Kate Bush also on the edgy ballad ‘Lotus’, evincing a bitter coffee in a lonely Parisian cafe.

There’s an unmistakable air of European rock about it all, even when that riff kicks in, yet it’s emotive despite the clinical over-production and delicious for devotees of heartfelt operatic rock. Liv’s honeyed notes are effortless, even aching on the mournful ‘Two and a Heart’, and overall it’s fairly pleasant though not the sort for rough old me. Catchy, sweet, and choc-full of darkness and melody, it’s Gothic Symphonia with an even softer heart.

6.5/10

Liv Kristine on Facebook

 

PAUL QUINN