REVIEW: The Answer - Solas

Northern Ireland quartet The Answer have been releasing albums for a decade now. From their debut Rise album they made a firm mark on the UK's rock scene, opening for the likes of Aerosmith and The Who, as well as gaining a special guest slot on AC/DC's 2008/9 Black Ice world tour. Two great albums in the form of Everyday Demons and Revival followed, but in recent times The Answer's story has stalled somewhat.

Their past two efforts, 2013's New Horizon and last year's Raise A Little Hell, whilst solid rock n roll albums, were missing a certain something. Both albums felt almost like the band were trying too hard, ticking all the boxes on paper, yet missing that certain spark and personality that made their earlier efforts so good.

Enter Solas. From the moment the swirling atmospheric intro fades in, it's clear this is not just another Answer album. James Heatley's steady beat behind the sparse guitars and dirty bass really drive home the otherworldly vibe. Most startling though is Cormac Neeson's vocals. We're used, by now, to hearing his banshee wail to kick things into overdrive from the get go, yet here he opts for a low growl, perfectly completing the picture. The chorus is a celtic gospel chant of the album's title track, the reverb drenched harmony really driving the new approach home.

This feel continues straight into the haunting Beautiful World, but the boys from County Down don't pussyfoot around for too long, the distorted guitars and a despairing wail from Neeson showing around the 1 minute 40 mark that they can still raise the volume when they need to, even if the ultimate effect is something entirely new. The acapella final line delivering the sort of spine tingling chills the band first did on the likes of No Questions Asked from their debut.

Not that it's all bleak atmospheric fare. Belfast's Streetwise Samba Band add their celtic shuffle to the upbeat Battle Cry. Left Me Standing shows the band haven't forgotten how to write a catchy rock tune during their evolution, and Demon Driven Man has absolutely all of the groove, as well as some tasty guitar licks courtesy of Paul Mahon. The six stringer in particular has never sounded better than he does here. Relieved of riff duties, for the most part, in favour of the overall melody of the songs, the freedom and space he's had to work within each tune's structure means that when his lead work does come to the fore, it's all the more prominent, and thus given even more impact. Nowhere is this more pronounced than on standout track Being Begotten, a constantly building bluesy number with some just outstanding playing.

It's clear throughout the album that the band have leaned heavily on their celtic roots. Thief of Light in particular could be an old Irish folk song, and there's just as much acoustic guitar and mandolin throughout the album as there is wailing Les Paul.
Ultimately Solas feels like an album The Answer wanted to make, rather than one they thought they should. It is simultaneously nothing like the band have made before, yet the truest Answer album to date. A sterling return to form.



Tracklisting:

Solas
Beautiful World
Battle Cry
Untrue Colour
In This Land
Thief Of Light
Being Begotten
Left Me Standing
Demon Driven Man
Real Life Dreamers
Tunnel

REVIEW: Rival Sons - Hollow Bones

The fifth album from California rockers Rival Sons continues their trend for writing albums distinct from their predecessors. Yet in many ways it consolidates everything that's brought them from playing small clubs and bars, to opening arenas as special guests on Black Sabbath's final world tour, into one supremely accomplished package.

There's plenty of Scott Holiday's signature guitar work throughout, almost single handedly demonstrating that riff based music is not only still kicking, but happy to take on all comers in a no-holds-barred, steel cage contest. Which is not to say that there's no subtlety to the music. Rival Sons are masters of light and shade. This is shown in a number of tracks, Thundering Voices contrasting another huge guitar line and sensational drumming from Michael Miley with a delicate chorus and a middle section that immediately evokes Led Zeppelin's No Quarter. After being compared to the 70's behemoths since day one, Rival Sons have finally gone full Zep and it is awesome.

There's new tricks on show in the soulful Pretty Face, and the epic Fade Out again showcases that command of dynamics with some brilliant lead work from Holiday. One of the highlights of the album actually comes in the form of the first cover to grace a Rival Sons release. Their rendition of Ike and Tina Turner's Black Coffee - taking it's cues from the sublime Humble Pie version - is stripped of the high quality production that graces the rest of the album and fully demonstrates just what makes Sons such an exciting band. Without the bells and whistles you can really hear the talent on show, and the almost free-form, jamming nature of the track's closing moments is a glimpse into why they are one of the best live bands this writer has ever seen. Hollow Bones Pt.2 though is a masterful tour-de-force, and a clear demonstration that the band can be just as accomplished in a studio setting as in a live environment.
The album closes with a heart-wrenching and beautiful acoustic ballade from singer Jay Buchanan. It contrasts wonderfully with the more powerful preceding tracks, layers of strings and lap steel guitar building throughout the song, and is a beautiful ending to the album.

All in all, Rival Sons have struck a happy medium between the raw energy of their earlier releases and the high production values of their previous album Great Western Valkyrie. One gets the sense of a signature sound emerging, and the quartet, aided by '5th Son' producer Dave Cobb, certainly know how to use it. Hollow Bones is another outstanding addition to the Rival Sons discography.



Tracklisting:

Hollow Bones Pt.1
Tied Up
Thundering Voices
Baby Boy
Pretty Face
Fade Out
Black Coffee
Hollow Bones Pt.2
All That I Want

REVIEW: illustr8ors - Photopia

After building a reputation off of an EP and a debut album (not to mention a killer live act) under the Black Wolf name, Photopia is the first album by these five guys under their new moniker of illustr8ors. Ridiculous spelling aside, the evolution in sound here undoubtedly prompted the change in branding, and whilst the band maintains the same broad rock flavour as their earlier incarnation, there's a definite new maturity to their sound, setting it apart from earlier releases.

A record of consistently good album tracks, initial listening revealed no real stand out. The possible exception being Shush Shush, which qualifies as the only obvious single amongst the 10 tracks on offer. After multiple listens though a couple more come to the fore (Feels Like Dying, Steady Slow) and once you're familiar with the songs you can really start to appreciate the craft on offer. Won't Bury Me for example offers a tonne of groove, and the light and shade employed in Grace, coupled with an arena-rock chorus, demonstrate a real honing of the craft since the youthful exuberance of the Black Wolf releases. Nowhere is this more evident than the slow burning Citizen. Invoking 90's grunge the track builds to a great crescendo with which to end the album, though one would have loved a longer guitar solo to really put the icing on the cake. One suspects the influence of producer Toby Jepson in that.
Ultimately one of the band's greatest strengths also proves to be it's biggest weakness. Scott Sharp, besides possessing a stupendous larynx, is capable of some fantastically poetic lyrics. Unfortunately, in the pursuit of this imagery, the words don't always marry themselves well to the melody, which may explain the lack of any real anthemic hooks here. There's a lot to be said for descriptive verses, but in this format a 'Keep It Simple Stupid' approach to the chorus often wields the best results, as opening track Something Biblical attests.

Changing the name of the band is one way to get around the 'awkward second album' problem, but ultimately there's a real development in sound here and you get the sense that the Bristolian quintet now have a much greater sense of who they are and what they want to achieve. It's a grower, but Photopia is very strong album who's nuances are much more appreciated in familiarity.


Tracklisting:

Something Biblical
Your Animal
Feels Like Dying
Won't Bury Me
Swimming With Anchors
Steady Slow
Shush Shush
Heal You
Grace
Citizen

REVIEW: Buffalo Summer - Second Sun

Second Sun is the sophomore effort from Welsh rockers Buffalo Summer, taking the bluesy classic rock established by their eponymous 2013 debut and using it as a foundation to reach entirely new heights. The four lads from Neath have somehow maintained their familiar sound yet demonstrate an evolution in song-writing that indicates they've a future as much, much more than a classic rock nostalgia act.

The opening three tracks aptly demonstrate what the band are all about, continuing the big riff, big groove blueprint set out by their first album but with the polish and confidence that comes from several years honing your craft on tours across the UK and Europe. Make You Mine containing the first of many sing-a-long choruses and the Aerosmith-esque groove of Heartbreakin' Floorshakin' making it impossible to decline singer Andrew Hunt's invitation to 'get your dancing shoes on'.

Track 4 though, is when we get the first real evolution of the Buffalo Summer sound. Maintaining their signature groove but under a more mature, cooler vibe, a theme continued from here on out. Light Of The Sun encapsulating this perfectly, providing a real highlight midway through the record.
There's big, radio-rock choruses sandwiching out and out rockers - the balls to the wall, AC/DC style assault of Into Your Head a stand-out track - as well as hints of R&B and even Americana on the uplifting Priscilla. In many ways they save the best 'til last, album closer Water to Wine's country inspired guitar lines invoking images of top-down, windswept road trips, beers-on-the-beach jam sessions and adolescent, summer love affairs. It's a cracking song, with guitarist Jonny Williams' rip-roaring lead work bringing the curtain down on an impressive 12 tracks.

Buffalo Summer's embellishment of their established base ingredients with a more mature approach to song writing and a willingness to pull influence from outside their blues rock core make this an impressive second outing. If they continue in this vein, higher heights undoubtedly await.


Find it on iTunes


Tracklisting:

Money
Heartbreakin' Floorshakin'
Make You Mine
Neverend
As High As The Pines
Light Of The Sun
Levitate
Into Your Head
Little Charles
Priscilla
Bird On A Wire
Water To Wine

REVIEW: The River 68's - Piece EP

Piece is the third EP from Glaswegian rock n soul band The River 68's, following their initial self-titled effort and the recent 'live and acoustic at La Chunky'. Those who know the band will already be familiar with their soulful, rock n roll sound and this EP continues in that vein with great success. The four tracks here are all feel-good, uplifting numbers, with subtle gospel vibes to each that can't help but raise your spirits. The guitar work on the two openers is just dripping in Stones-esque swagger, complimented perfectly with honky tonk piano and exquisite vocal harmonies. This is all set off by the goose bump inducing vocals of lead singer Craig McCabe, surely the UK's finest undiscovered talent. There's some variety included in the slow burning Forget Your Illusion, a track capable of giving even this hardened atheist a spiritual moment, before Make Hay When The Sun Shines combines the best of both worlds to bring the EP to a close. It's another slice of genius by the Scottish outfit that is over all too quickly, but hopefully they'll be hitting the studio soon with a view to recording a full length effort. Without doubt ones to watch.



Tracklisting:

Sonny And The Second Hand Store
Rush
Forget Your Illusion
Make Hay When The Sun Shines


You can download this EP from the band's Bandcamp page here.

REVIEW: Tax The Heat - Fed To The Lions

Fed To The Lions is the debut album from Bristol quartet Tax The Heat and as debut albums go it's an absolute barnstormer. This isn't a band still in search of their sound as many initial efforts can be, but rather a highly polished effort showcasing a real identity. A bed of hard rock riffs and 60's R&B swagger gives the foursome a hearty base from which to launch their songs.

And what songs they are. The singles Highway Home and Animals kick things off with aplomb, giving a strong indication of what to expect – ballsy guitars and big choruses – without giving too much away about what's in store further down the line. Whilst ostensibly 'blues rock' the glossy production and Alex Veale's thoroughly modern delivery of the vocals ensure that Tax The Heat are miles away from your bog-standard classic rock band. Though there's still some blistering lead runs by Veale that will keep that audience more than happy, there are moments when indie flavours seep through to compliment the overall hard rock vibe.

Three tracks from the band's 2013 EP are reproduced here including the song for which this album is named. Any other track following the Wolfmother meets QOTSA Under Watchful Eye would sound tame by comparison but the massive guitar sound, furious drumming and stop start vocals make it one of this writer's favourites on the album.

The true stand out track though arrives at the mid-point in the shape of Some Sympathy. Appearances at Download, Calling Festival and others, as well as arena shows alongside the likes of Thunder cry out for some sort of anthem and Tax The Heat could have a stone cold classic on their hands right out of the gate. With a huge sing-a-long chorus and simple, one-two punch riff, it's no wonder they were able to win over those sorts of crowds.

The album rattles along at a good pace, the quartet eschewing ballades and opting to keep the riffs coming right up until the climactic Lost Our Way, a real showcase of the musicianship these lads possess. A guitar god opening, giving way to a melodious chorus demonstrating a command of light and shade, it's a massive closing track that is just begging to be given an extended workout live.

All in all, few freshmen efforts can claim to be as polished and self-assured as Fed To The Lions. If their career trajectory is any indication, off the back of this record, Tax The Heat are poised for big things.

Find it on iTunes

Tracklisting:

Highway Home

Animals

Under Watchful Eye

Fed To The Lions

Hit Me Hard

Stood On The Platform To Leave

Some Sympathy

Devil's Daughter

Learn To Drown (You're Wrong)

Caroline

Your Fool

Lost Our Way