Frontiers 2005
Review by Satu Reunanen
3 July 2005

Norway isn’t exactly a country that produces loads of progressive metal bands, and eventhough Pagan’s Mind and Ark have for the past few years been the flag carriers for that genre, Conception left a great print on this genre and a huge hole to be filled. Circus Maximus is a new progressive metal band coming from Norway, which doesn’t exactly fill the place Conception left years ago, but offers their own point of view to the prog family and are a band that might give some new spark to their homelands music business.

The guys are involved with other bands as well, for instance Carnivora and Ozzy tribute band Ozzmosis, and it was only in 2000 that Circus Maximus became complete. Their debut will surprise many, it’s very influenced by Dream Theater, but the band still has a sound of their own, while mixing different elements. The vocals and harmonies reach heavens and the atmosphere is very high spirited all the way. The grooves work from first listen and the band stays heavy and compact for most part. It’s only in ”Glory Of The Empire” and ”The 1st Chapter” where the band goes a little off road. The songs run between ten to twenty minutes, but the length isn’t a problem, the several parts would’ve had more kick in them as own songs. Now the atmosphere gets a little lazy and scattered when a variety of emotions were squeezed to breathtaking lengths.

SonyBMG/RCA 2005
Review by Kimmo Toivonen,
3 July 2005

The first American Idol Kelly Clarkson is back with her second album. The first album was mainstream pop with some rock influences, but on this album, Kelly the Rock Chick stands up! The new producers don't try to make a new Celine Dion out of her, and Kelly herself has taken more part in the creative process, having co-written several of the tracks.

you might want to skip the rather lame opener "Breakaway", a rather lifeless number as the first track. The album really starts with the two tracks written by Max Martin, "Since U Been Gone" and "Behind These Hazel Eyes". Both are rather energetic rockers with strong hooks, as we've learned to expect from ol' Max The Swede. The next few tracks are really good as well: "Because Of You" and "Addicted" are both excellent rock ballads written by Kelly, David Hodges and Ben Moody (ex-Evanescence) and "Gone", a quirky but likeable pop/rock track.

Arguably the two weakest tracks have been buried to the middle of the running order: "Where Is Your Heart" is simply a rather dull ballad and "Walk Away" a Pink-like dance-pop-rock hybrid and not a very good one. It gets better with "You Found Me", a strong pop rocker, but "I Hate Myself For Loving You" doesn't really appeal to me, despite its' retro-rock style. Finally, there's "Hear Me", a good modern rock ballad co-written by Clif Magness. Oh yeah, there's a bonustrack too - a live version of "Beautiful Disaster".

With a little (or more) help from hit producers and songwriters, Ms. Clarkson has come up with a strong second album. A few tracks may be a bit on the safe side, but at least there's a certain direction on this album, unlike her debut. Kelly Clarkson Website

Edgerunner 2005
Review by Satu Reunanen
3 July 2005

Get your black and white paints, smudge your face as devilish as possible, make a few evil grins next to the mirror and you’ve found the shallow essence of black metal. That’s what Slagmark from Norway are about and their debut ”Eradication” reeks evil spirits. The band has done fine with it, reaching the right intense, devilish sound, which needs to lack some bass. Eventhough Slagmarks sound is quite thin, they still come out as a dynamic pack, which sounds exactly like black metal should sound.

MTM Classix 2005
Review by Urban "Wally" Wallstrom,
25 June 2005

The golden rules of AOR - keep it simple and keep it catchy!!! Norway's Ole Evenrude managed to do both with "One Size Fits All" and that's something to be proud of in my opinion. You want to know the whole darn secret of success in the melodic hardrock genre??? simply include a sing-a-long refrain and never-ever to underrate the meaning of simplicity. Throw a couple of wicked guitar riffs and licks on top of that and you're open for business.

It's as "simple" as that and still it's rather difficult to find any CD of today with such innocent/childish yet at the same time catchy approach. Nope, I don't believe it's a question of "everything was better in the past", it's frankly not the entire truth. Ole Evenrude is/was however Norway's answer to Desmond Child, he's been working as songwriter/producer with acts such as Sha-Boom, Bai Bang, Swedish Erotica, Tone Norum, Stage Dolls, and lately, Wig Wam. And much like Des Child, Evenrude has also moved on to work with pop acts such as Kurt Nilsen (World "Idol" winner), A-HA, Ace Of Base, A-Teens and The Tuesdays.

MTM 2005
Review by Urban "Wally" Wallstrom,
28 June 2005

One thing's for sure... Broke[N]Blue certainly have it all out in the open with "The Waiting". It's an unshameful display of pure AOR/Melodic Hardrock of the 80's and their bandwagon status is definitely still a very clean sheet. They haven't 'sold out' in other words!!! OK... they ain't blessed with wondrous visions of orginallity either, but as long as you keep it somewhat catchy, I'm not going to bite their heads off. I'm a major fan of 'dut-dut' keyboards anyhow and they do have a advantage towards other acts with their mixed female/male vocals.

They have done wonders with the sound however, keeping in mind that we're talking about a rather low-budget, self-production. Tracks like "Perfect Match" and "How Does It Feel" really stands as AOR tunes in its own right, retaining much of the Wilson-sisters 'Heart' sound during mid-80's. However, I'm not fully pleased with "The Waiting" as it feels a tad *too* safe at times. There's nothing wrong with staying true to their colours, but where's the hunger and passion for adventure, a walk on the wild-side???

Escape 2005
Review by Urban "Wally" Wallstrom,
25 June 2005

Whatever made them name the band "Boysvoice" is rather difficult to understand and it certainly goes way over my head. I guess they were aiming for opening tour slot with either Backstreet Boys or Michael Jackson, huh??? They are however a hardrock band in the lighter school of things and you can put them next to Demon Drive or the latest Casanova (you can also add a small dose of Scorpions), without feeling completely lost or out of place. It's a real grower actually and the CD gets better for each spin (up to a certain point of course).

"Serenity", the German's third overall release and the first since 1993, is a slick affair with a solid production and smooth rock approach. Returning bassist Jochen Mayer (Casanova) and vocalist/guitarist Mani Gruber, has penned down a dozen tunes without any real outstanding highlights or downers for that matter. It's a cozy little rock album that will work out fine as background music... while car driving during your lazy summer holidays. No need to worry about either road rage or falling asleep behind the wheel as the Boysvoice CD will keep you right on track.

Perris 2005
Review by Urban "Wally" Wallstrom,
27 June 2005

Perris Records (USA) is darn right notorious for coming up with both goodies as well as crappy and obscure acts in that 80's Sleaze/Glam tradition. They've even managed to lure Sweden's most famous Glam/Sleaze rocker ever... to join up for the mad roller coaster ride. I'm obviously talking about Zinny Zan (ex-Easy Action, King Pin, Shotgun Messiah) and his Zan Clan with the marvelous track "Go,Go,Go". It's a fun return to his King Pin days and easily his best song for a decade.

Tigertailz with "Dirty Needles" is the Bezerk/Banzai line-up once again and it's nice attempt of heavier sleaze rock. United Enemies was/is the "new" band with ex-Nasty Idols vocalist Andy Pierce and it's a violent mix of Guns'N' Roses and Sex Pistols. You probably need to love both above mentioned acts to enjoy this song. Sweden's 'On Parole' is fun KISS/Four Horsemen rock with a edgy attitude, Cosmic Ballroom (dito) is Backyard Babies/Hellcopters rock, and Vains Of Jenna is yet another Swedish act to look out for in the future. In fact, Sweden is blooming with new Sleaze acts at the moment and make sure to check out Crashdiet's album later this year for even more of that L.A. rock.

Mascot Records 2005
Review by Martien Koolen,
29 June 2005

This is in fact not a new album, but is a collection of songs from Steve’s Magna Carta releases. Of course we all know Steve Morse as one of the best guitar players of the last decade, as he has won several awards. We also know that he played with Kansas, Dixie Dregs, Deep Purple and of course his own Steve Morse Band.

On this album you will find Steve playing with Billy Sheehan, Jordan Rudess, John Petrucci, Mike Portnoy, Dave LaRue and Terry Bozzio. The CD features 9 tracks, 2 from the Steve Morse Band album “Split”, 2 from “Major Impacts 2”, 1 from “Major Impacts”, 1 from “Working Man (Tribute To Rush)”, 1 from “Tales From Yesterday”(Yes Tribute), 1 from “Feeding The Wheel”(Jordan Rudess) and a song called “Led On” which is a vapourspace remix from the album “Sonic Residue From Vapourspace”.

Trisol 2005
Review by Kimmo Toivonen,
23 June 2005

4 suitably gloomy looking guys wearing nothing but black and a big splash of modern-day warpaint...gotta be goth? Maybe so, but with a twist. You can read a description of their sound on the band's website, I don't feel like competing with that display of creative writing there...this is techno for the metal heads and metal for the ravers. Sequencers, computers and other gadgets are all over the place, yet there's room for guitars and hell, the song has a hook! Interesting. Vocalist Victor Love (any relation to Courtney... or Buddy?) seems to spent a semester in the Andrew WK school of singing, but who cares, since that kind of vocalizin' is perfect for this kind of material. Yeah, I kinda like this. And I hate techno!

The band is about to release a full blown album in September, and I have feeling that it might something to look out for. Meanwhile, you can try to locate their "10.000 Watts Of Artificial Pleasures" 6-track EP for more of their stuff...don't know why that wasn't sent to us, instead of this "Special DJ Edition"...RockUnited.Com doesn't have a dance floor! Dope Stars Inc Website

Mascot Records 2005
Review by Martien Koolen,
29 June 2005

“Prime Cuts” is a collection of Mike’s finest work from his Magna Carta sessions, performing with John Petrucci, Jordan Rudess, Billy Sheehan, Andy West, Tony Levin, Sebastian Bach and Jake E.Lee.

In “Mad March” Portnoy plays with Andy West(Dixie Dregs) and this song is a real jazzy, fusion kind of thing. This CD also features some Liquid Tension songs, namely “Freedom Of Speech”, “Acid Rain”, “Chris & Kevin’s Excellent Adventure”, “Another Dimension” and “Three Minute Warning Edit”. All great progressive instrumental rock songs with clear Dream Theater influences.

Jive (Sony BMG) 2005
Review by Kimmo Toivonen,
23 June 2005

What? Backstreet Boys? At RockUnited.Com? Yes! The boys are all grown up, and have delivered an album that even you might like, if you put your prejudices aside. Yes, YOU!

I'm the first to admit that my first impression of this band wasn't too good. Back in the mid-nineties they were just one of the countless wimpy boybands with flashy choreographies and bouncy pop songs, not to mention those limp-wristed ballads. I actually listened to their first album a while ago, and it was still quite horrible! The second one wasn't much to write home either, but for the third one ("Millennium") they got a few really outstanding songs, like "Larger Than Life" which was basically a hard rock track with dancepop coating, and the moody ballad "Show Me The Meaning Of Being Lonely", which showcased a more mature side of the band. The fourth one I haven't heard, only the singles, of which I liked some. Before the band's hiatus they released a greatest hits compilation, which featured new song "Drowning", an AOR ballad by any standards and arguably one of their best songs.

"Never Gone" seems to be continuation of "Drowning" and their attempt to update their sound. The instrumentation of these songs is more organic than before, there is a lot of live instruments with rock guitars upfront. If I were to compare this to a rock album, the most obvious reference would be the last Def Leppard album "X" - a number of these songs would have been right at home on that one.

Highlights? Everyone must have heard "Incomplete" by now, as it's all over radio and MTV, and it is indeed a suitable introduction to this album. Dark, moody and bombastic power ballad with a lot of similarities to Def Leppard. Longtime BSB songwriter Max Martin has come up with some of the best tracks here, including the dangerously infectious pop rock tracks "Just Want You To Know", "I Still..." and "Climbing The Walls". The latter is probably my favourite track here - it takes a couple of spins for the chorus to stick to your head...

Out of the 14 tracks here (with two marked as bonustracks), only two have to be rated as "instantly skippable": "Weird World" co-written by Five For Fighting's John Ondrasik is just too jazzy, jangly and whiny for me and "Poster Girl" reminds me of the band's dreadful dance tracks. Then there are a few tracks that I'm not too sure about, the quirky "My Beautiful Woman" (the hard rocking guitars on the chorus do appeal to me though) and Oasis-like ballad "Lose It All" for instance. The overall rating could have been even higher, if any of those tracks would had been replaced a couple of guitar-driven, uptempo numbers. Now the album gets a bit too balladic towards the end.

I'm sure that this review will generate a lot of debate, but that's just fine. I just wish that people would get over the fact that it's Backstreet Boys, and give it a shot. It's not the best thing since sliced bread and it's not even a contender to be the best album of 2005, but still, it's a decent pop/rock album with some very good songs. Backstreet Boys

Atenzia 2005
Review by Martien Koolen,
19 June 2005

This is the follow-up album to Frameshift’s debut, which featured vocals by James LaBrie and which was one of the highlights of prog rock music in 2003. “An Absence Of Empathy” is filled with the vocals of Sebastian Bach, former Skid Row lead singer. Henning Pauly, wrote and performed all the music except for the drums which are played by Eddie Marvin.

The music on this second Frameshift album is definitely more heavy and metal orientated than on “Unweaving The Rainbow”, which was a prog rock album in every way. “Human Grain” is the opening song and this one immediately sets the tone for this rather interesting album, the song is filled with heavy riffs, a smashing guitar solo and lots of powerful singing by Sebastian. “Just One More” is even heavier and because of the metal parts and the screaming vocals this one reminds me of Skid Row at their best.

Swedmetal Records 2005
Review by Endre 'Bandi' Hübner
13 June 2005

There's a little devil living in my head. He's wearing a pair of red leather pants with a colorful silk shirt, he's got a can of hairspray in his hand and every time I play an album with as a modern sound and approach as Stefan Moren's second solo, the little bastard starts screaming "no, no, hell no, we don't like it, Alice in Chains sucks in general and these guys and their entire movement killed rock music after all". And most of the times I do agree with the voices in my head and write my review accordingly.

However this time there's an exception to the rule because even though Stefan's newie sounds very modern it is full of melodies and memorable hooks. Usually it's hard to find the balance between experimenting with modern, aggressive sound, yet sticking to classic rock melodies but this album is a prime example that it is possible the melt both into an entertaining full-length album. The reason of Stefan's successful attempt must be due to his own studio background knowledge and his ongoing live experience. He handled everything, all the instruments, the recording, and the production on the album, yet he managed to stay in control and there's a consistent sound and approach all over the album. This guy was prepared for his release!

SpacedOut Music 2005
Review by Urban "Wally" Wallstrom,
14 June 2005

Better the "Demon" you know... as this is a rather fine return to the classic "Demon" sound of the 80's. I had basically lost all hope of them ever returning with a half decent album again to be honest. This comes therefore as a nice surprise and merely the ultra lame "Warriors" (worse than "Warriors Of Ghengis Khan" with Bad News), and the rather corny "Obsession", feels now like a major let down.

However, with only nine tracks included and two of them instantly lost, you're now suddenely down to seven. Hardly anything to brag about in these CD days I'm afraid. "Better The Devil You Know" could only have benefited from excluding all that blank, empty space, with a couple of more songs instead. The songwriting team of Dave Hill (vocals) and Neil Ogden (drums) has otherwise managed to come up with some clever lines and hooks. "Dead Of The Night" is a sparkling return to the good, old, days, and "Standing On The Edge" will take you right back to the year of 1985. I'm really fond of the fat hammond sound here and a couple of tracks had me even thinking about Thin Lizzy.

InsideOut 2005
Review by Urban "Wally" Wallstrom,
14 June 2005

It seems like the Spiritual Beggars has constantly been fighting their inner "Demons" with this release. The first five tracks are tiresome stoner rock without any finess or meaning whatsoever. It's like a nightmare return to the hippie and experimental jamming days of the late 60's/very early 70's. It suddenely becomes very clear to me why people were constantly dropping acid (LSD), during the flower-power years... it's probably the only way to stand this kind of nonsense.

"Demons" is a real shape-shifter though as the music finally kicks in at track #6. The guitar riffs are bigger, the melodies are better, and it's all very enjoyable heavy/melodic rock of the 70's (Audioslave rock to the rookie). "Dying Every Day" is still a gloomy and a dark title, but it rocks in a interesting way. There's a really mean hammond roaring in the background and vocalist JB steps up the plate to hit a homerun. "Born To Die" is actually more of a 80's rock kind of thing with blasting guitars by Mike Amott (ex-Carcass), and a vibe closer to Guns'N'Roses than Mountain. The last seven tracks are actually the best and I would personally switch the running order and tracklisting of "Demons".

MTM 2005
Review by Urban "Wally" Wallstrom,
12 June 2005

Northen Light (not to be confused with the mid-80's act from Sweden) is yet another AOR project with several lead vocalists at large. The main person however is Norwegian guitarist/songwriter Tor Talle, a session player in his homeland for years and he's also behind the music to television shows and documentary's in Norway. Hands down, this could as easily have been one of many Tommy Denander' projects. The music is very-much steeped in the same kind of AOR/Westcoast formula and you'll get a watered down version of Radioactive, Toto, Sayit, Journey, rock.

The lead vocalists are the excellent Fergie Frederiksen (TOTO), the hi-pitched Tony Mills (SHY), Sweden's dito Peter Sundell (Grand Illusion), Rob Moratti (Final Frontier), Mikael Erlandsson and Finland's Kimmo Blom (Urban Tale). The songs however are remarkebly bleach, uninspiring, and even quite dull at times. I actually find it darn difficult to name any highlights or selling points whatsoever. It's technical clean and sterile AOR without any disturbing elements such as memorable hooks or melodies.

Prison 2005
Review by Urban "Wally" Wallstrom,
15 June 2005

This is supposed to be a 24 track journey through the early years of what has become one of the pyschobilly punk scene's most popular bands. OK... I have never been a punk rocker or even remotely into "Punk"... with the only exception of The Clash, The Ramones, and Sex Pistols of course. Bloody'ell... I guess I've been a punk rocker after all, then??? Yeah, well... I believe we've all enjoyed the stories of how Lemmy (Motörhead) desperately tried to teach Sid Vicious how to play the bass (a mission which he failed miserably with). And you gotta love a band that hits No#1 in the U.K. during the Queen's jubilee week with a song like "God Save The Queen". To be honest... I don't know all *that* much about the minor acts in and around the punk scene though.

Atlantic 2005
Review by Urban "Wally" Wallstrom,
2 June 2005

I know, I know, you really shouldn't start a review with a statement such as "there will never be another Images And Words release". But... and that's a rather big "but" actually [no pun intended], it seems like they've finally understood that simplicity really is bliss at times. Dream Theater and the word 'simplicity' doesn't exactly go hand in hand you say??? True... but there's a thin line between 'insane or genius' as well and they've managed to move away from the worst kind of intrumental w**king of lately [or the rather "dark" approach of Train Of Thought]. The songs are once again top-class material and I guess you could put a sticker on this CD that reads: "almost as good as Images And Words", but neither the band or the record label would appreciate it, I'm sure :-)

The eight tracks featured on "Octavarium" is a close to perfect mix of complex prog metal (Never Enough) to the rather simple music of "I Walk Beside You". Heck, the latter could almost have been a U2 song and I'am not kidding around here. No, there's no need to worry about them going "pop" or anything... there's enough of complex segments and progressive patterns to slay a dragon or two as usual. Like... the epic title track is blessed with a +five minute long "intro" and yet, you feel like standing up and applauding them when LaBrie finally starts to sing as it's all very natural and easy-going. The keyboard solos featured here are out-of this-world as Jordan Rudess goes through the ivory & ebony with superb finess. Ehem... the song clocks in at +24 minutes and I truly enjoyed every minute of it!!!

Inside Out 2005
Review by Martien Koolen,
8 June 2005

Who or what the hell is Presto Ballet? Well if you listen to the first track of this album you probably will not have a clue… The title track features some real organ sounds, quiet musical passages, splendid guitar solos and could be described as a mix of Kansas and Dixie Dregs. Well, Presto Ballet is the new band of Metal Church guitar picker Kurdt Vanderhoof, but this album has absolutely no musical connection with that classic metal band.

The eight songs on this CD evoke a classic seventies feeling with clear influences from rock pioneers such as Yes, Kansas, Genesis, Dixie Dregs, Styx and even Deep Purple. What this album makes very special is the fact that all the tracks were recorded using an analogue tape machine, which makes it really sound like a seventies prog rock album. “The Fringes” opens with a Kansas-like intro before the guitar licks and melodies build up the song, featuring also Tommy Shaw like vocals and a rather catchy chorus. “Seasons” is a rather sweet mainstream rock song, which reminds me of Protokaw. “Find The Time” is also rather mellow and ballad-like with acoustic guitars all over the song, but luckily the electric guitar solo saves this song in the end.

Inside Out 2005
Review by Martien Koolen,
8 June 2005

Although I am a super Yes fan I have only got one solo album of Steve Howe in my record collection, namely “Beginnings”, released in 1975! On his new solo album he goes beyond the boundaries of progressive rock and explores a much broader spectrum of musical colors, combining rock with jazz, blues, Latin, Indian and other world music.

„Spectrum” is almost a family album as Steve plays together with his sons Dylan (drums) and Virgil (keyboards); the band is completed by Tony Levin (bass guitar) and Oliver Wakeman (keys). „Tigers Den” opens this CD in a very prog rock style, where Steve combines classical guitar with rock in hiw own iminitable way. „Labyrinth” sounds rather jazzy with a laid back solo, whereas „Band Of Light” has obvious Latin influences, including a guitar sound reminiscent of Carlos Santana.

Inside Out 2005
Review by Martien Koolen,
7 June 2005

Tomas Bodin is of course best known as the keyboard player of the famous prog rock “gods” The Flower Kings. He has also released 3 solo albums in the past, which were solely instrumental. Now he surprises me with a concept album, a very good prog rock opera, which you have to listen to lots of times to grasp its full implications. It is a story about man’s time on earth, dealing with philosophical and religious themes.

The other musicians participating in this project are Marcus Liliequist (drums), Jocke JJ Marsh (guitars), Jonas Reingold (bass guitar) and on vocals Pernila Bodin, Anders Jansson and Helene Schonning. The CD consists of three long suites divided into several chapters. Of which the first suite appeals to me the most. The music is complex with lots of sound scapes, real prog rock passages, great melodies, dramatic vocals, aggressive guitar shreds, howling key solos, so pure progressive rock full of musical twists and turns. However the last 3 minutes of the first suite are maybe a bit too sweet on the vocal part.

Atenzia 2005
Review by Urban "Wally" Wallstrom,
1 June 2005

You can label this under "the thinking man's music" in comparsion to the rest of the back catalogue of Göran Edman's career (Madison, John Norum, Glory, Yngwie Malmsteen, Kharma, Street Talk, etc). The Swedish vocalist hasn't been this progressive in the past and the music is more suitable to the fan of Saga, Flower Kings, Yes (in the 80's), A.C.T. than AOR. Bare this in mind while I point out that far from everything is "Prog" and you can find traces of both Westcoast & Metal here.

In fact, hands up if you remember the "World Trade" project from the very end of the 1980's? Billy Sherwood & Bruce Gowdy's project is quite similar to "Caleidoscope" at times... even if Xsavior add a "Swedish" approach to everything. Well, I find the World Trade album to be more consistent to their "YES" influences as well and they had a better song structure in my opinion (remind me again, why the heck did I mention World Trade? seriously though, there are similarities).

BMG 2004
Review by Petri Kautto 6 June 2005

Silvertide’s "Show and Tell" is a real pain, at least if you try to listen to it using a computer. When I popped the CD in all I got was a " [1200] Authentication failure". Not the best way to get started. I don’t know if I’m computer illetarate or if it was the CD but it was a hassle. Eventually I got around listening to it, though. [Reviews Ed: it's the copy-protection...]

Silvertide’s first release is a classic rock album, The Black Crowes with balls you might say. "I Ain’t Coming Home" is the opener and it’s a good example of what this band is about; melodic, energetic upbeat bluesy rock with driving guitars and an attitude. I also gotta mention the fifth song "Blue Jeans" which is one of those rockers that engage you from the first note. Great melody, good chorus and a thrilling guitar solo, probably the best piece on this album. Some others I could mention too, but these two rose above the others.

Spitfire 2005
Review by Urban "Wally" Wallstrom,
6 June 2005

It's the return of the old shock rocker once again and Alice Cooper literally travels back in time with "Dirty Diamonds". Too bad I'm a child of the 80's and that I'm brought up with his "Constrictor" and "Trash" material, huh? Well... I'll have to admit that "DD" is a decent, close-to solid affair and probably his best release for quite a while. It's 70's rock meets the nu-breeds of Jets, White Stripes, The Hives, and guitarist Ryan Roxie must have spent a lot of time going through old records with six-string benders such as Keith Richards as well as Ace Frehley.

I'm not sure all of his "old" fans will appriciate the nu-rock approach of some of the songs though. Is it only me who thinks that Cooper has been the worst kind of band-wagon jumper of lately??? Everytime there's a new "trend" or "style" in music, old Alice is sure to tag-a-long for the ride. Most of his 90's albums were merely lame attempts at keeping up with new metal kids on the block anyhow. I'm only waiting for a "rap" album now as the bonus track "Stand", features lots of it with some weirdo doing the bling-bling styled music at its worst... (c)rap.

MTM 2005
Review by Urban "Wally" Wallstrom,
3 June 2005

The return of Norway's Return is something that could most certainly please many fans of classic Scandinavian AOR and Melodic Hardrock. There's absolutely no need to worry about them going too "modern" or "nu-breed" either (if that should have been a problem for you?) as they pretty much stick to their colours with the new and self titled CD. OK, they do flirt with nu-rock and Green Day with "TV-Song", but it's all kind of innocent performed rock and not really something that could/should offend any old dogs out there.

The only problem is that I don't find the material to be rock solid stuff throughout the entire CD. Sure, opener "Every Little Step" is a massive attack of glorious Scandi-rock with a catchy hook and everything. "Save The Heart" opens up like Stefan Andersson's "Catch The Moon" until it hits you where it hurts with a massive sing-a-long refrain. It's got a "sentimental" schwing to it and you can't help to feel good and touched at the very same time... if that makes any sense. Definitely one of the better AOR songs of the year. "All The Way" is a rough, guitar oriented track, that works just fine as a uptempo rocker and change of pace. Then you have three, four, tracks in a row that more or less feels like fillers and I'm not too sure about the quality. In the end, Return delivers a "safe", borderline boring record, when I expected a great one.

LimbMusic 2005
Review by Urban "Wally" Wallstrom,
1 June 2005

This is a more than decent Progressive Metal record, considering that they're using many clichés both musically and lyrically. The Norwegians deliver a traditional album in the style of Queensryche, Sacred Warrior, and Artension, without being a complete and utter rip-off act. It's a concept album of course (aren't all proggers into this after all?) and there's tons of keyboard vs guitar duels in the style of Artension to be found.

They lack however something they can call their own identity and it's too much of a deja vú experience at times. They're said to be inspired by the great norse Edward Grieg as well... but you can't really tell from their material. There's lots of complex segments included and it almost seems like they're completely lost, during their foreboding search of the perfect song material. Not to make things worse, but in comparison to Dream Theater's "Octavarium", this merely feels like a poor man's version of prog metal.

SPV/Steamhammer 2005
Review by Martien Koolen,
7 June 2005

The first Demons & Wizards album was brought on the market 5 years ago and it really got some great reviews. The music was a mix of Iced Earth and Blind Guardian and this second album continues the artistic tradition of Hansi Kursch and Jon Schaffer, although I must day that the songs on “Touched By The Crimson King” are simpler than on the debut.

Most of the 9 new songs are typical metal tracks, rather bombastic with staccato riffs and double bass drums, making it very hard to separate those song from one another. “Crimson King”, “Terror Train” and “Dorian” all have the same speed neck-breaking tempo, as for the other tracks they are all power ballad like.

“Seize The Day”, “The Gunslinger”, “Love’s Tragedy Asunder” and “Wicked Witch” are almost build up in the same way. Power ballads with acoustic guitar parts, lots of vocals and almost no instrumental passages. The best song on this rather uninspired metal album is called “Beneath These Waves”, which could fit in on any regular Iced Earth album, although I tend to dislike the nasal vocals of Hansi after a certain time.

To make things worse the band even recorded a cover and you all know how I feel about covers, right? It is a classic hard rock song brilliantly performed originally by Led Zeppelin and it is called “Immigrant Song”, hands off dudes! A rather disappointing album with no highlights, too many vocals and not enough musical interesting passages. Jon and Hansi, you can do better than this!

Sansei 2005
Review by Urban "Wally" Wallstrom,
1 June 2005

Wham Glam Thank You Mam' - Spiders & Snakes is the 80's U.S. glam act fronted by ex-London guitarist Lizzie Grey. You may also recall him from smash hits such as "Ultrapop" and that he in fact co-wrote "Public Enemy #1" included on the Mötley Crue debut "Too Fast For Love". Whatever... it's not like he can walk on water or turn it into wine or something... now that would have been a great stage performance and value for the money. OK, let me just add that 'London' was the famous 'underground' glam act in LA during the early 80's in which Nikki Sixx (Mötley Crue), Blackie Lawless (WASP) and Slash (Guns'N'Roses), all used to hang out with and be a member of (not all at the same time though - phew, now that's enough name dropping for a while).

"Hollywood Ghosts" is a CD/DVD release (2 disc set) that features twelve new tracks and fifteen videos, spanning the band's career, complete with slide shows and special sections. The bonus DVD got my attention immeditely as it works as a fifteen-year "long" documentary of the band with bonus material such as live concert footage, rare photos, backstage and on-air interviews, etc. It's a blast to watch these under dogs and former sunset strip heroes at hard work for success and whatdoyaknow - "Public Enemy #1" is included as well.

Deadline 2005
Review by Urban "Wally" Wallstrom,
5 June 2005

There's supposed to be 4 disc, 78 track boxset entitled "Hollywood Rocks" coming up for release shortly. However, I received a 17-track promo sampler... so I can't really say if it's going to be a fun release or not. OK, OK, it will "probably" be a freakin' great release and I'm merely pissed off over the fact that I haven't received the real deal [:-)]. Seriously though, it "seems" like Deadline Records have done good with the audio compilation to last years "Hollywood Rocks" book. You'll get all the memories, all the fashion, and all the music of the sunset strip acts during the years of 1980-1992.

Sure, you'll get all the famous and established acts like Posion, Dokken, Keel, Warrant, WASP, Quiet Riot, Black'N'Blue, Great White, etc. On the other hand you also have the underground heroes from the era such as Rebel Rebel, Yesterday's Tear, Motorcycle Boy, London, and The Hangmen, etc. The A&R team of Deadline has scoured through hundreds of demos, vinyls, and CD's, to give you the best of both worlds (rich & poor man's music). My promo mostly holds the familiar numbers such as Dokken's "It's Not Love", WASP "I F'**k Like A Beast", Poison "Look What The Cat Dragged In", Keel "The Right To Rock", etc. Nontheless, I believe this to be a fun mission with lots of gems and probably essential stuff for the collector of 80's strip metal (check out the label link above for more info).

True Talent Records 2005
Review by Satu Reunanen
26 May 2005

If you’re in the need of solid, lean, deep sounding, radiofriendly and little bit of bluesy music, Hollywood from Ireland is a good bargain. The band which has been working less than a year now, has been gaining recognition in their homeland and now has a six-track debut EP out for anyone interested in their sound. They’ve also released a single ”Lucky Strike” to rave reviews, recorded their first video, performed on national TV, toured Ireland with Thin Lizzy themselves and are starting to record their first full-length cd this summer, having recently changed their name to Emerald Kings though.

Their music mostly goes on the mellower 70ies side, to the bluesy Thin Lizzy-style with easy rhythms and you might even catch influences from The Beatles and The Doors and the singer / bassist Tony Cullen sometimes sings a bit like Justin Hawkins from The Darkness, but doesn’t have any humorous intentions in his sound. Cullen also brings out deep and harsh sounds at times, but you understand what he’s singing and it’s all about storytelling. His style of singing is called Bel Canto, which isn’t very popular, but at least Phil Lynott, Bono and Sinead O’Connor belong to that category.

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