Welcome to the first regularly updated CD review section I've done in ages, outside of the Scottish and selected English (& Australian) independent music scenes.
This section, however, is devoted to bands who are signed to labels, and outside of the Scottish music scene.
Basically, the thinking behind this bit, although inevitably it's my own humble opinion, is that if someone's produced a CD that is so stonkingly good in its field that no fan of that style of music should be able to live without it, then it's reviewed here - all styles, all artists - all thing considered - but only the best included. Now, read on......

A BROKEN ROBOT – Elliot CD-EP
South east indie band labelled as “indie-pop” and you have to say that this is not only true, but that they've decidedly been overdoing their listening pleasure when it comes to the back catalogue of The Cure, 'coz the opening track could almost pass for the real thing (I say, “almost” advisedly, but you get my drift!!). But just as you think you've got them pigeon-holed they go into these multi-part harmonies that kind of bring them back into the noughties, and this combination of eighties and now somehow works and you find yourself warming to the charms of the tracks. There's a definite Robert Smith affectation in the lead vocal dept while the band play this swinging mix of chiming guitars, angular melodies, twisting and strident rhythms, and it all neatly fills the hole that The Cure left behind, but updates it with emotion, depth, feeling and pleasurable enjoyment. Songs to which you drink your tea and chew delicately on the cucumber sandwich.

ART IN EXILE – Art In Exile CD-EP
Yes, it's true – the Australians really do have a goth scene – and, from the evidence of this CD, a hardcore scene, a death metal scene, a modern metal scene and something that makes the likes of Within Temptation and Nightwish sound more like Bucks Fizz and Bananarama!! Yes folks, welcome to the world of Art In Exile as the opening track drowns you in the boiling oil of its metal guitar onslaught, the massively crushing wheels of its rhythm section and the screaming torture rack of intensity that is its female singer. If that didn't electrocute you, the 50,000 volts of guitars and pummelling rhythms that opens the hypersonic “Behind The Eyes” will jerk you back to life as the female screams for all she's worth. Mysteriously the whole thing suddenly drops down to just lilting bass, eeerie synths, deep guitars and quite melodic female vocal that actually sounds quite captivating in a Within Temptation stylee, although you just know what's going to happen – and, oddly enough, it doesn't. Instead of erupting, it gradually climbs, gathers strength, stays melodic, drops back, becomes even more atmospheric - THEN it erupts!! “Spitting Thorns In A Comatose” (apart from having a title that makes absolutely no sense at all) follows a similar pattern only this time the Goth-metal screams into life at the start before wandering into a foggy little atmospheric instrumental mid-section, rising to a melodic metal bit then storms into life for a truly inspirational slice of screaming goth-rock finale. With one more track of a similar nature, what this does is show that you can take goth-metal into a much more anarchic environment, intensify the shit out of it, even remake and remodel it to sound positively angry and you have something that is the antichrist to Within Temptation's heavenly ways. The deciding factor is that the more and more you play it, the more and more you get into it and out of it. Pretty stunning, actually!!

PETER BEASLEY – Coruscation CD
For the first time on CD, one of the finest albums from one of the most underrated of the musicians that sprang onto the UK synth music scene in the eighties. Not only is it remastered, but it also features over 33 minutes of previously unreleased tracks. The album opens with the six minute “Hunger Hill” which revolves around a typically solid undercurrent of sequencer rhythms as the lead synth melodies flow along majestically on top, while other synth rhythms are added to the sequencers so that the whole thing drives along superbly, and with its mix of Berlin-esque influences married to the art of writing a fine tune, it couldn't be anything else other than eighties UK synth territory but one that has more than stood the test of time and still sounds great to this day. “The Swaggering” actually predates the synth-meets-dance movement of ten or more years hence, as a rolling driving beat of electro-percussive strength, strides along with repeated synth embellishments but topped by this river of melody that lends the track its air of real enjoyment, while the rhythms are maintained at mid-pace so that it sounds more like “synth” than anything overtly “trancey” and at five minutes, states its case with cohesion and conviction. As yet another contrast, the four minutes of “Nullified” fairly rattle along with fast-paced twittering electro-percussive rhythms, equally resonant electronic bass, while above this a mix of deep and surface synth melodies and textures, makes their presence felt, and lends the track a quite eerie atmosphere, but at the same time, lends a real depth and emotion to it, too, and although it seems fast, it actually also manges to seem spacey too, quite a feat and a remarkable four minute piece. At nearly seven minutes long, “Qwerty Uiop” reverts back to the opening track as sequencers and majestic melodies are driven by an extra undercurrent of electro-percussive rhythms while the sequencers are multi-tracked for extra effect, as the equally multi-textured synth streams and melodies drive forward with purpose and direction.
The final track of the original album is “York Aspiring” and is a 21 minute epic which opens up in space synth mode before blossoming out into a ringing synth that is underpinned by gentle electro-percussive rhythms, assorted lead keyboard and synth melodies flowing along on top and assorted textural electronics flowing around, alongside and behind, all providing this splendid air of open spaces, cosmic bliss and solid structure as it continues to surge forward in a slowly measurable manner. Then it gathers pace as a decidedly solid set of rhythms is introduced from strong sequencers and surging electro-percussives, as all sorts of lead synth melodies interweave and flow on top to positively glorious effect. From there it gradually moves back to a long section of calmer waters with plenty of cosmic melodic textures warmly moving along to great atmospheric effect at the same time as being something that seems to fit so naturally with what's gone before. To end, the piece then returns to a more upbeat finale as sequencers return and it all takes off to soaring heights as it all drives forward to the end, a truly mulit-faceted, cohesive and highly engaging track which, as befits the whole album, is positively timeless. As stated earlier, three extra tracks in the form of early versions of tracks from the album, including the epic, are equally enjoyable and fitting to the album without feeling repetitive in any way.

BRIGADE – Sink, Sink, Swim CD Single
How good is this??? No, don't get me wrong – I mean HOW GOOD IS THIS!!! Oh jeez – they've finally gone and done it. Right from the first time I reviewed this band way back on the first release, I said that they were phenomenal and have maintained that ever since. But I never for one minute thought that they'd get to a stage where they could mix rock, nu-metal, emo, pop and punk into something as overwhelmingly magnificent as these two tracks. Released as a “double A-side” single, you can see why, since each track is presented with strength, depth, cohesion, power, precision and an overwhelming sense of confidence – you just KNOW that this band knows how good these two tracks are and how to use them. Musically, we're talking most simply and sincerely – move over Foo Fighters, your time has come – the new kids on the block are about to take over!!

CEDAR FALLS – Abondon CD-EP
Been a while since I last heard from this lot, so much so that without going back to whatever it is I reviewed, I can't for the life of me remember what it was like. This is a 4-tracker that really scythes through your skull with quality at its heart as the opening track reveals a surging sea of guitars over pounding beats, as soaring lead vocals fly over the horizon, the whole thing powering out and even with something approaching a chorus at the heart of the beats as a short but exceedingly welcome track lights up your life. “Twilight” starts as a kind of ballad that threatens to build, does so, then threatens to explode and does so , but what a way to do it. Then it returns to the ballad. The vocals are in tune, delivered with a semi-nasally passion while the rhythm section crunches away as the lashings of electric guitar provide the heart, soul and guts of an indie power ballad that swings back and for the between taking off and dropping back to earth, eventually electing to take off, and never looking back, all to hugely anthemic effect. “Unity” opens with a salvo of electric guitars that immediately grabs you as the rhythm section rolls in, the vocals soar over the top and this driving mass of surging emo-rock blasts out to storming effect. “A Place To Stand” really is a ballad – acoustic guitar and vocals – and in its place, it works well enough and actually sounds surprisingly good as the short closer to what has been an intense thrill of an EP. DORP – Humans Being CD
South African band who, if you trust the promotional info, will appeal to fans of Radiohead, Bjork, Beck, Nine Inch Nails and even U2 & Pink Floyd. Oh yeh?. The only one out of that list that I like is Pink Floyd, and Dorp certainly don't appeal to the Pink Floyd in me, that's for sure. Nine Inch Nails? Well, apart from one track, gives wrong impression of industrial qualities. Radiohead? Nahhhh....... this lot are far too exciting for that. Bjork? Give me a break – what the hell in this could appeal to a Bjork listener!!
HOWEVER................. if you're into the likes of The Killers, Kasabian,  Muse........yesssssssss, NOW you see what we're dealing with. This is far more contemporary sounding than the promo blurb makes out, and that's the reason why this succeeds, for succeed it most certainly does. You have to take it as an album in its own right as the compositions are single-handedly strong, with so much happening in there, lyrically commanding, cleverly arranged, produced to perfection and more varied than you'd have the right to expect, yet equally, more consistent and cohesive than you'd have the right to expect. The vocalist has got one of those nasally twangs that so much reminds me of a contemporary singer whose name I simply am aching to recall but it's locked in the back of my mind somewhere, while the band pour forth this amazing amalgam of guitars, beats, rhythms, electronics, backing and harmony vocals on compositions that are positively mesmerising. There's a strength running through its veins and a maturity that is exuded with the confidence of a band that knows it's produced something exceptional. The songs themselves hook you in without having any hooks, catch you unawares with a commercial sensibility that is far from pop yet incredibly popular.. There's even an element of REM in here somewhere, and if this was the seventies, it would be 10CC's “Sheet Music” meeting Led Zeppelin's “Physical Graffiti” but it's 2008 and it's the vanguard of modern contemporary thought-provoking, god-time indie bands meeting the heart of REM with all guitars blazing. On first hearing, it's great. On second hearing, it's even better while the third play – yes, I got to three – proved irresistible.
There's this band from Australia called Late Nite Access about which you will hear a lot more very soon – this is nearly as good as that – and, trust me, that's about as good as good gets, in this musical field. Stunning!!

GROUND MOWER – Ground Mower CD
A new face of Swedish metal and the very best thing here is that they have a vocalist who not only sings in English, not only has no trace of accent, but also just happens to be one stunner of a singer. You put that together with a roaring, raging traditional face-melter of a heavy metal band, a set of eleven tracks that are positive anthems in their own right, and you have the recipe for one of the most solid and satisfying heavy metal/Classic Rock albums you'll come across this year. Each song is dripping with guitar riffs that surge out like uncaged beasts let loose, while the rhythm section plays things tight, crunchy and dynamic with plenty of power, driving the machine ever forward. Add some steaming hot guitar work to the fray and you have an album that's both varied and consistent from start to finish. Another reason why it's so good is that they have a great sense of counterpoint and dynamic cascade as well as potent firepower within the compositions themselves. If you want 11 tracks of largely on-fire, headbanging trad metal infused with the density, depth and intensity of modern rock, then this album will keep you in raptures for a long time to come.

HELLFIRE – Bleed For The Cause CD
That's the word that came immediately to my lips when this started - “Hell fire”!!!! speedily suffixed by “what the hell is THIS??” Well, blisteringly extreme hardcore metal that takes the paint off warships at 2000 paces is as probably as close to the mark as it gets. Ten tracks fuelled by rifle fire rhythms, crushing guitars, yowled, howled, growled, hollered and strangled vocals forming the focus of the songs, the whole thing proving as punishing as it gets. Brutal as a caged animal, subtle as a brick and more claustrophobic than being stuck in a cell with Gordon Brown, this is as masochistic as metal musical listening gets, so carry on cutting, hardcore fans!

THE HUMOUR – Momentary Moment CD Single
Ahhhhhh............yesssss!!! From the moment you hear those scything guitars with that rich sonorous tone and the buzz-saw qualities of the wild riffing, you're immediately hooked to the title track. Three minutes of magic on which a strong vocal performance through a song with precious few hooks but a somehow addictive quality, allied to the density of the driving rhythm section, all combine to create a track which seriously endears itself to you. It's a similar case for “Mr Rockefeller”, only here we do have a real chorus and while the on-fire guitar density is of a more staccato nature, as the occasional lead guitar flame licks around your ankles. The song strides forward in powerful fashion, another soaring vocal performance in keeping with the strength of the whole thing, even though it's nit what you'd call a “distinctive voice”, but in this context, works a treat. It ends with another three minute metalli-pop gem to complete a trilogy of tracks that aren't going to set the world on fire, but they are going to light up your life, and that's really what it's all about at the end of the day.

ZENITHAL – Vendetta CD
I can't explain why, but there are times when some band or other will record what, on the surface, amounts to the sort of thrash album the likes of which you've heard many times, and yet there will be something there – that indefinable spark – which keeps you hooked and makes you want to listen to each and every rack, then listen to each and every track all over again – and this is one of those albums. The fact that there are two guitarists at work helps, as they scythe and drive a motorised path through 9 tracks of rifle-fire riffing, steaming leads and molten density, the guitars just scorching through and mixed to perfection. All this of course, is propelled by heavy duty, speed-of-light kick drums and crunching, muscular drumming, underpinned by pounding bass that makes the floor shake. Where it also succeeds, is that, while you have vocals that are hollered and shouted, they are also sung and also clear as a bell so that you can hear the lyrics practically throughout the album. Not only that but the songs themselves are arranged and written to give a degree and range of variation that makes it so much more than “just another thrash metal album”. Many would say that this is “old school” thrash but in fact, it's so refreshing, it feels more like something new. But, whatever you call it, this deserves to be experienced – time to ravage the local neighbourhood, one more time!!

Continued....

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