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Review: The Morning After – You Can’t Hurt Steel
The Morning After – You Can’t Hurt Steel
(2009, Rising Records)
1. Metropolis … 1:04
2. Lost In Time … 6:09
3. Hell And High Water … 3:48
4. Glitter And Bombs … 5:02
5. Crush.Kill.Destroy … 8:26
6. In The Heart Of The Young … 6:12
7. Atlantis … 5:15
8. Sometime After Dark … 4:43
9. The Destroyer … 0:47
10. You Can’t Hurt Steel … 5:43
Band:
Sam Ryder – Lead Vocals, Guitar
Phil Maher – Guitar, Backing Vocals, Keyboards
Gary Stone – Bass, Backing Vocals
Jake Booth – Drums
Okay, after loving the ’80s melodic rock-meets-modern rock/metal sound of Legacy so much, I decided to check out The Morning After’s debut album You Can’t Hurt Steel. It’s a less pleasant offering because metalcore permeates throughout most of the songs complete with those harsh growling vocals. I like when bands are influenced by Avenged Sevenfold, I just don’t like when those influences are from A7X’s metalcore years.
The Morning After still has their melodic moments but nothing like what is to come on Legacy, the songs on You Can’t Hurt Steel are heavy and fast. This is heavy metal and I think with their follow-up they toned their sound down to be more in the range of hard rock.
Musically, I really have no complaints because unlike most metalcore bands there is tons of melody here along with the chugging riffs and shredding solos, the problem is when the metalcore vocals come in but thankfully clean vocals are used the majority of the time.
The intro “Metropolis” is hilariously deceptive as to what is about to be unleashed throughout the rest of the album. It’s epic AOR featuring keyboards and it’s jarring when the modern metal of “Lost In Time” kicks in. It’s not until “In The Heart of the Young” that the album finally lets up and allows you to breathe and see where the band was heading for the next release.
Overall, You Can’t Hurt Steel is a good melodic modern metal album that is well worth exploring but if you’re like me and backtracking from Legacy, you may be in for a bit of a shock from the metalcore influence.
Highlights: “Glitter And Bombs”, “Crush.Kill.Destroy”, “In The Heart of the Young”, “Sometime After Dark”
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Review: The Morning After – Legacy
The Morning After – Legacy
(2011, Rising Records)
1. Legacy … 1:39
2. Into The Fire … 3:57
3. Limit … 4:20
4. America … 4:28
5. The Witch Is On My Back … 4:05
6. Over The Wire … 3:52
7. Streams of Stars … 10:33
8. These Hills Have Eyes … 3:39
9. Powerdrive … 3:32
10. Rest In Pieces … 4:52
11. Nightmare Planet … 4:49
12. Seasons … 6:39
13. I Walk With Giants … 5:28
Band:
Sam Ryder – Lead Vocals, Guitar
Phil Maher – Guitar, Backing Vocals, Keyboards
Gary Stone – Bass, Backing Vocals
Jake Booth – Drums
I read about this band & album in an issue of UK’s Classic Rock magazine where they gave Legacy praise and the reviewer stated “there’s as much Def Leppard and Iron Maiden in the mix as there is Sweet and Queen”. That grabbed my attention so I had to check this British band out for myself.
In their own biography, The Morning After says they “combine the exuberance, showmanship and melody of classic 80′s metal and pop with a gritty backbone of the metal and hard rock of today.” A lot of times band bios are just fluff and the young bands seem to oversell themselves with them but that description is dead-on and was exactly what I was thinking.
If you took a AOR added a some glam metal and then added a band like Avenged Sevenfold that’s The Morning After. These guys know how to write melodies and they know how to work the twin guitar attack that Iron Maiden & Avenged Sevenfold have worked so well in the past. I hear a lot of Maiden by way of A7X in these guys because the songs are done in a modern style while still appealing to ’80s metal heads/melodic rock fans. Songs like “Nightmare Planet” & “Seasons” sound like something you would hear from A7X during one of their more melodic moments. I definitely hear Queen & Def Leppard influences in the way the vocals are structured and layered and from the production as well.
I don’t want people to get the idea that these guys are as heavy as Avenged Sevenfold, they aren’t, I would consider The Morning After more hard rock than heavy metal but they walk the line having a classic yet modern sound. In that regard, they also should appeal to fans of Black Veil Brides, Endeverafter, The Darkness and Bang Camaro.
Legacy is a refreshing album where the world of ’80s rock/pop & metal meets the current scene. It’s full of great lead & backing vocals, wonderful melodies, shredding guitars and plenty of headbanging hard rock moments. Great album from 2011 that I unfortunately wasn’t aware of until 2012.
Highlights: “Into the Fire”, “Streams of Stars”, “These Hills Have Eyes”, “Nightmare Planet”, “Seasons”, “I Walk With Giants”
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Review: Michael Thompson Band – Future Past
Michael Thompson Band – Future Past
(2012, Frontiers Records)
1. High Times … 4:41
2. Can’t Be Right … 4:06
3. Future Past … 5:11
4. When You Love Someone … 5:24
5. Here I Am … 3:48
6. Beautiful Mystery … 4:38
7. Break Me Down … 4:33
8. End Game … 4:32
9. Gypsy Road … 4:44
10. Can’t Miss … 4:36
11. Fight For Your Life … 5:04
Band:
Larry King – Vocals
Michael Thompson – Guitar, Keyboards
Khari Parker – Drums
Alan Berliant – Bass
Additional: Musicians:
John Blasucci – Keyboards
Dave Hiltebrand – Bass
Matt Walker – Drums
Sahara Thompson – Backing Vocals
J.P. Delaire – Keyboards, Backing Vocals, Sax
Producer: Larry King & Michael Thompson
I wasn’t familiar with Michael Thompson before this album but his list of credits in the music industry is very impressive. He looks to be a very in-demand session player that has worked on soundtracks and with tons of rock/pop/R&B artists like *NSYNC, Barbara Streisand, Bette Midler, Boyz II Men, Brandy, Celine Dion, Cher, Christina Aguilera, Ciara, Debbie Gibson, the Eagles, Gloria Estefan, Jennifer Lopez, Jessica Simpson, Joe Cocker, Johnny Mathis, Kenny G, Lionel Richie, Madonna, Mariah Carey, Michael Bolton, Michael Buble, Michael Jackson, Neil Diamond, Seal, Shania Twain, Toni Braxton, TLC and Whitney Houston. Very impressive list.
Though Michael has managed to release two solo albums and also form another melodic rock outfit called TRW, with such a busy session career it’s no wonder there’s been a 23 year gap between the Michael Thompson Band’s debut album 1989′s How Long and Future Past. In 2007, Frontiers Records re-issued How Long (which was originally released by Geffen Records) so obviously they’d want to release the follow-up MTB album as well.
As you would expect from such a seasoned session player, the songs on Future Past are expertly recorded, written and performed. Thompson’s chosen vocalist for this album, Larry King, has a great voice and is exactly what I like to hear from melodic rock acts. A lot of this album sounds like the type of AOR that you would’ve heard in the early or mid ’80s (I am told this is referred to as “West Coast AOR”). But unlike many of those melodic rock albums from the 1980s, Future Past is thankfully not drowned in keyboards. After all, Thompson is a guitarist first and foremost so the keys take a backseat to that.
Future Past doesn’t actually live in the past completely though. “Can’t Be Right” has modern touches to it and “Here I Am” sounds like something I’d expect from Bon Jovi these days.
MTB has turned in a collection of sentimental moments and catchy, uplifting songs that is sure to please melodic rock fans everywhere.
Highlights: ”High Times”, “Can’t Be Right”, “Future Past”, “Here I Am”, “Beautiful Mystery”, “Fight For Your Life”
Mr. Big – Live from the Living Room (review)
Mr. Big – Live From the Living Room
(2012, Frontiers Records)
1. Undertow … 5:30
2. Still Ain’t Enough For Me … 3:24
3. As Far As I Can See … 4:05
4. Voodoo Kiss … 4:11
5. Take Cover … 5:34
6. Around the World … 4:23
7. Stranger In My Life … 5:15
8. All the Way Up … 5:17
9. To Be With You … 4:35
10. Nobody Left to Blame … 5:54
Band:
Eric Martin – Lead Vocals
Paul Gilbert – Guitar, Backing Vocals
Billy Sheehan – Bass, Backing Vocals
Pat Torpey – Drums, Percussion, Backing Vocals
Producer: Mr. Big & Pat Regan
Recorded during January 2011 in Tokyo, Japan in front of a small studio audience, Live from the Living Room captures Mr. Big’s very first acoustic show. Since the show was done during and for promotion of 2010′s What If… album, seven of the ten tracks from this set are stripped down versions of songs from that album. Of course it’d be crazy for Mr. Big to do their first ever acoustic show and not perform their biggest hit “To Be With You” (from 1991′s Lean Into It). Completing the set is “Voodoo Kiss”, which comes from the same album as “To Be With You” and “Take Cover” from 1996′s Hey Man.
Technically speaking, the band is very good. That should come as no surprise. Eric Martin sounds great and obviously Paul Gilbert & Billy Sheehan haven’t lost a step over the years. But… Mr. Big has never been one of my favorite bands. Despite the fact that they are great musicians, I’ve never really felt a big connection to them outside a few songs. Still, this live acoustic album should be an enjoyable listen that’s sure to please those that are big fans of What If… and Mr. Big in general.
Highlights: “Undertow”, “Take Cover”, “Around the World”, “Stranger In My Life”, “To Be With You”
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Iconic Tonic – Rock And Roll (Review)
Iconic Tonic – Rock And Roll (2012, Jamsync Music)
1. MMXI … 1:33
2. Out Loud … 3:44
3. I Can’t Breathe … 3:25
4. Paramount … 4:01
5. Zombie Baby … 3:58
6. Lost At Sea … 4:01
7. Bring You Down … 3:52
8. Time To Be With You … 3:41
9. St. Abbey … 3:54
10. The One … 3:54
11. Iconic Tonic … 3:02
12. I Will Love You … 4:08
Band:
Chad Eric Snelling- Lead Vocals, Bass, Piano
Dave Spencer – Lead Vocals, Guitars
Tony Hawes – Backing Vocals, Drums
Producer: Deron Daum
Columbus, Ohio’s Iconic Tonic is another strong act that has been signed to the Jamsync Music label in recent times. After the listening to “Out Loud”, I assumed the band was going to be a straight-ahead party rock band but that’s not the case. Rock And Roll shows off a band that has many influences.
The intro “MMXI” gives me a Black Sabbath vibe, possibly something you’d hear from the Tony Martin era. “Out Loud”, of course, is a fun hard rocking number and is one of the singles from the album. Definitely the most obvious choice for airplay. “Zombie Baby” not surprisingly has a bit of Rob Zombie to it while the trippy “Lost At Sea” sounds like something Pink Floyd could’ve done and “Bring You Down” sounds like alternative metal in the vein of Cold or Tool or like something from the last Lizzy Borden album. ”Time To Be With You” is done in a Beatles style. The instrumental “Iconic Tonic” takes us back to a simple hard rock style à la 1970s KISS.
While all of these different sounds could make for a schizophrenic and disjointed album in the hands of a lesser band, Iconic Tonic pull it off quite well. I have absolutely no problem with a band experimenting with different styles all on one record just as long as the quality of music is there and the quality is there. You wouldn’t want or expect something like this from a veteran act such as KISS, Black Sabbath or AC/DC but for younger acts just getting their foot in the door, it’s good to experiment (just like college!) and find out where your heart and potential truly lies.
All told, Rock And Roll is just that: rock ‘n’ roll. Sure, each song may have a different flavor but if you’re into classic rock, ’80s rock, British rock, rock/pop & alternative rock and want to sample it all at once this is the album to do it with.
Highlights: “Out Loud”, “I Can’t Breathe”, “Paramount”, “Zombie Baby”, “Lost At Sea”, “Bring You Down”
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Hell – Human Remains (Review)
Hell – Human Remains (2011, Nuclear Blast Records)
1. Overture: Themes from “Deathsquad” … 1:14
2. On Earth as it is in Hell … 5:09
3. Plague and Fyre … 5:09
4. The Oppressors … 5:53
5. Blasphemy and the Master … 8:11
6. Let Battle Commence … 4:23
7. The Devil’s Deadly Weapon … 10:14
8. The Quest … 4:21
9. Macbeth … 7:21
10. Save Us from Those Who Would Save Us … 5:05
11. No Martyr’s Cage … 9:00
Band:
David Bower – Vocals
Kev Bower – Guitar, Keyboards, Vocals
Andy Sneap – Guitar
Tony Speakman – Bass
Tim Bowler – Drums
Producer: Andy Sneap
Human Remains is an album I had listened to late last year but I’m just now getting around to reviewing it. The story here is that Hell was part of the New Wave of British Heavy Metal scene in the early 1980s but never was able to get around to recording an album. They released a handful of demo tapes and 1 EP before splitting up in 1987. According to Wikipedia, they had signed with the Belgium label Mausoleum but the record company went bankrupt shortly before Hell was to record their debut.
Fast forward to 2008, the surviving original members of Hell (vocalist/guitarist Dave Halliday committed suicide shortly after the group’s disbandment in the ’80s) got together with Sabbat’s vocalist Martin Walkyier & guitarist Andy Sneap (who took guitar lessons from Halliday) to re-record some old Hell tunes for a proper album. After laying down vocals, it was decided Walkyier was not the right man for the job so Kev Bower’s brother David Bower stepped in to re-record Walkyier’s vocals (who had been re-recording the vocals of Dave Halliday!).
I’m actually quite surprised by how little attention this album has received. Even though Metal Hammer magazine has listed it as #6 on their best albums of 2011 list, I haven’t really seen many people talk about this album. I’ve enjoyed it quite a bit. Though the band seemingly does not like the NWOBHM tag (their Facebook page states their genre as “HELL”), they definitely play in that style while adding other metal elements such as thrash, speed, goth, black, power and symphonic.
I wasn’t even aware of Hell until this release. There are so many NWOBHM bands that came and went without having released a debut album, it’s hard to keep track! When I looked at the album cover and heard that guitarist/producer Andy Sneap was involved, I figured this was going to be really heavy stuff. Something that would be too heavy for my ears. Luckily, it isn’t and don’t let the imagery, lyrics or the over the top vocal theatrical performance of David Bower fool you — it’s all done tongue in cheek.
A couple of the songs are way too long: “Blasphemy and The Master”, “The Devil’s Deadly Weapon” (10 minutes!) and “No Martyr’s Cage” but even those songs have moments worth exploring. The band is definitely are their best with a straight ahead NWOBHM headbangers like “The Quest”.
And of course, the production is absolutely fantastic. Lots of stuff going on here to give atmosphere. That’s expected when you have Andy Sneap on board who has earned a reputation as one of heavy metal’s best producers.
An obscure gem from just last year, Human Remains should be picked up and listened to by fans of Priest, Maiden, Venom and Mercyful Fate. Here’s hoping this isn’t a one-off and Hell will continue to reign over us for quite some time to come!
Highlights: “On Earth As It Is In Hell”, “The Oppressors”, “Let the Battle Commence”, “The Quest”, “Save Us From Those Who Would Save Us”
http://www.hell-metal.com/
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Zeroking – Kings of Self Destruction (Review)
Zeroking – Kings of Self Destruction (2012, Vanity Music Group)
1. “Dead Rock Star” … 4:49
2. “Forget Vegas” … 4:52
3. “She Said” … 4:52
4. “Showtime Revolution” … 4:04
5. “Southern Lady, Ex-Godiva” … 5:09
6. “Stone Cold Bitch” … 3:54
7. “Love Is Dead” … 4:33
8. “Kings of Self Destruction” … 3:27
9. “Girls of California” … 4:48
10. “The Party’s Over” … 4:32
11. “Black Friday” … 3:53
12. “Valentine” … 4:28
13. “Leaving Los Angeles” … 6:32
14. “Valentine” [Studio Outtake] … 4:37
15. “Stone Cold Bitch” [Acoustic - Live] … 4:04
16. “Girls of California” [Single Edit] … 4:06
Band:
Andy Haught – Lead Vocals
Shane Day – Guitars, Backing Vocals
Paul First – Bass, Backing Vocals
Chris Webb – Drums, Percussion, Backing Vocals
Producer: Steve Riley
Caught somewhere between old school and new school Huntington, West Virginia’s Zeroking are a band that should be all over radio… NOW!!! These guys describe themselves as “a hard rock/metal party” and that’s pretty accurate. Zeroking brings influences from bands like Guns N’ Roses and Motley Crue but adds a modern hard rock touch of their own just in the way that Hinder and Buckcherry have done. Any fan of Buckcherry & Hinder should find plenty to like here. The band has found a great middle ground for classic rock and new rock. Zeroking fits modern rock radio stations and fans of Adelita’s Way, Sick Puppies, Sixx:A.M., Skillet and Pop Evil will like these guys.
The band wastes no time by opening the album with “Dead Rock Star”. My favorite track on the album and would be my choice as a single. Very catchy stuff that will appeal to the new old school and old school. ”She Said” is a modern hard rock song that I could also see getting play on radio. “Southern Lady, Ex-Godiva” has a southern rock swagger to it that will draw comparisons to Buckcherry or the last Hinder album. ”Love Is Dead” is another great tune that has single potential with lead singer Andy Haught sharing vocals another Huntington native Stacee Lawson (whose voice reminds me of Stevie Nicks). Through the sleaze & swagger of the rest of the album, the album starts to wind down on a sensitive note with “Valentine”. This is a really good ballad and, again, could be a single. “Leaving Los Angeles” is a great semi-laid back rock rock/pop tune that closes the proper album (the final three tracks are alternative versions) and sounds like Sixx:A.M.
Zeroking are a band that have a lot of things going for them on Kings of Self Destruction. The production is very well done and the songs will appeal to a broad range of hard rock fans. They are old school and melodic enough for ’80s fans yet current enough to grab the ear of fans of the modern rock scene. Check this album out and help spread the word about this great young band.
Highlights: “Dead Rock Star”, “She Said”, “Southern Lady, Ex-Godiva”, “Stone Cold Bitch”, “Love Is Dead”, “The Party’s Over”, “Valentine”, “Leaving Los Angeles”
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Buy ‘Kings of Self-Destruction’ at Amazon.com
Van Halen – A Different Kind of Truth (Review)
Van Halen – A Different Kind of Truth
(2012, Interscope Records)
1. “Tattoo” … 4:44
2. “She’s the Woman” … 2:56
3. “You and Your Blues” … 3:43
4. “China Town” … 3:14
5. “Blood and Fire” .. 4:26
6. “Bullethead” … 2:30
7. “As Is” … 4:47
8. “Honeybabysweetiedoll” … 3:46
9. “The Trouble with Never” … 3:59
10. “Outta Space” … 2:53
11. “Stay Frosty” … 4:07
12. “Big River” … 3:50
13. “Beats Workin’” … 5:02
Band:
David Lee Roth – Lead Vocals
Eddie Van Halen – Guitar, Keyboard, Backing Vocals
Wolfgang Van Halen – Bass, Backing Vocals
Alex Van Halen – Drums
Producer: John Shanks & Van Halen
Well. Here we are. One of the most anticipated releases of the year by one of the biggest rock bands ever. A Different Kind of Truth is the first new Van Halen album in 14 years and it’s the first VH album with David Lee Roth in 28 years! To say that the band was under pressure to deliver is an understatement.
In order to help deal with such pressure and high expectations, the band dug back into their vault and grabbed old demos and song ideas and hammered them out into complete songs in order to keep in line with that classic DLR-era Van Halen sound (with lyrics completely rewritten by Roth). Ironically, this has drawn criticism from many VH fans who feel cheated over the fact that the album isn’t 100% new (you’ve got DLR back… isn’t that enough?). Well, it’s no surprise that when you’re as big as Van Halen and you’ve been around for so long, you’re always going to be compared to the early and “best” years and no matter what your intentions, there’s always going to be a loud group of “fans” that will tell you how much you now suck. Personally, I think it is a bit disappointing that this legendary band couldn’t be inspired and confident enough to come up with completely new material and that they needed to look at 30 year old demos. Ultimately, as long as the finished product is good, that’s what matters most. It’s not like they are the first band to use previously abandoned material.
As for the deal with Michael Anthony… Look, it’s a shame this isn’t a full reunion. Yes, it’d be nice for him to be on the album and in the band still but are we really going to gripe & moan over backing vocals? I’m not trying to downplay his contributions but it’s not like he was the songwriter or the public face of the group. It’s lame Eddie was enough of an insecure jerk to kick him out because of Michael’s friendship with Sammy Hagar (who has already said he doesn’t like this new album, no surprise there) but it’s not like his presence is that missed, IMO. His backing vocals are great but VH’s music stands on its own with or without him.
So, to the first single: “Tattoo”. When I first heard it, I thought, okay this is somewhat typical of VH’s poppier moments but is most reminiscent of something Roth might’ve done early in his solo career. It’s a fun song that I’ve ended up liking a lot, even though at first I thought it was really just above average. It’s definitely not like anything else on the album and now I can kinda see why it was chosen as the first single because it’s not as hard, heavy or fast as the rest of the album. Definitely the song that has the best chance get onto Top Forty station.
I can definitely say that if anyone is letting “Tattoo” influence their decision on checking out the album, don’t. This is a HEAVY album. Whether Eddie is using old solos or came up with some new stuff, he’s absolutely on fire throughout this album. For years people have been saying that Eddie had lost it thanks to his years of addiction but the guy can still go and proves himself to again be in an exclusive class of guitarists. Even if the material isn’t 100% new, just the fact that he can still play it so skillfully means something.
There’s been some criticism of Diamond Dave’s voice (which is nothing new) and while it obviously isn’t the 1980s anymore, he still sounds like Dave. I don’t have any problem with the vocals at all.
And if you want to know how this new VH line-up gels, just check out “Honeybabysweetiedoll”, which may be the heaviest song these guys have ever written and has a slight modern edge that the rest of the album doesn’t have. I would love to hear more songs written in that vein.
I think Van Halen have delivered a great disc to spin during the summertime… which is how every Van Halen album should be written — with summer in mind. This is a good album to play while you’re driving down the highway with the windows rolled down, out on the beach or washing your car. No disrespect to the Hagar years (which I liked), but Van Halen is at their best when they aren’t trying to change the world or make you think. Van Halen is best at writing party rock and that’s what the album is. ”Tattoo” is pop/rock, “Blood and Fire” reminds me of Van Halen II, “Bullethead” & “Honeybabysweetiedoll” are heavy, “Stay Frosty” is the successor to “Ice Cream Man”, the opening of “As Is” is reminiscent of “Everybody Wants Some” before EVH lets loose, “Big River” has that classic hard rock Van Halen sound… Forget when it was all written and just enjoy the music! This is the Van Halen that everyone has been waiting for and I’m liking it more and more with each listen.
Highlights: “Tattoo”, “You and Your Blues”, “China Town”, “Blood and Fire”, “As Is”, “Honeybabysweetiedoll”, “Big River”
Book Review – RAT SALAD: Black Sabbath, The Classic Years 1969 – 1975
Rat Salad: Black Sabbath, The Classic Years, 1969 – 1975
(2006, St. Martin’s Press)
By Paul Wilkinson
Here is a short review for a book I had considered buying on and off for years. While I have read a number of Black Sabbath books, I held off on this for awhile because it focuses on the Ozzy era up through 1975 and it’s well-known that I prefer the likes of Ronnie James Dio & Tony Martin over Ozzy Osbourne’s tenure. Still, when I found out it was available from the local library, I checked it out and gave it a shot.
To be honest, I got about 80 pages into this 240 page book before I decided to walk away from it. I am a huge Sabbath fan but you not only need to be a major Ozzy-era fan but also a musician to really get the most out of this book. All the talk about C sharp, E minor or whatever is absolutely boring to me. I am not a musician, so that detailed information means nothing to my brain. I read a review that stated this book is like a text book, in some ways, I agree.
In addition to that, the author tries to interject his own personal history into the book. I found this to be quite odd and it really disrupts the flow of the book whenever he delves into his personal life. If he wants to talk about how Sabbath affected his teenage years, fine, but I don’t care to learn about his school days, his best friends or first kiss. It’s really out of place and the author comes off as a self-important snob but then I guess most of us music critics are exactly that.
Bottom line: if you love the early years of Black Sabbath AND are a musician, you’ll probably like the book a lot. For those of us that like to listen but can’t play a note, there are much better books on Black Sabbath out there.
Drug Under – Forgive and Forget (Review)
Drug Under – Forgive and Forget (2012, Down Boy Records)
1. Forgive and Forget
2. I Need To See
3. Borrowed Time
3. Never Again
5. Echoes
6. Down
7. Change My Ways
8. All The Lies
9. It’s Over
Band:
Romero – Vocals
Eric Greenwall – Guitars
Pat Searcy – Guitars
Aaron Greenwall – Bass
Mike Crisler – Drums
Producer: Mark Obermeyer, Jerry Dixon & Erik Turner
Never judge a book (or album) by its cover! When this Denver, CO.-based band was first brought to my attention, going by the cover art and knowing that the label is owned and operated by Warrant’s Jerry Dixon & Erik Turner, I assumed Drug Under was going to be the type of hard rock act that drew heavily on ’80s influences. Not so. They are a modern hard rock/metal act that fits right in with the rest of the bands on active rock radio these days.
I can’t say this type of rock that features an alternative influence and crunchy guitars is a favorite of mine but Drug Under has their moments where they really shine. “I Need To See” and “Never Again” have the most commercial appeal, I think, and are my favorites. Very cool songs that should be on radio. “Forgive and Forget”, “Borrowed Time” & “Echoes” all have enough of a hard driving edge to keep those that just want to bang their heads satisfied. “All The Lies” and “It’s Over” are of particular interest to me. There’s some nice melodies in the melancholy moments of both of these rockers that show potential for this band to write some great ballads later down the line.
Forgive and Forget is an album sure to appeal to fans of the modern rock/metal scene and ’90s rock/metal. While I am not going to say that Drug Under knocked it out of the park on this release, it’s still an enjoyable listen that shows this is a talented band that has a bright future.
Highlights: “I Need To See”, “Never Again”, “Change My Ways”, “All The Lies”, “It’s Over”
