Andrew Danso

American, rock, blues, it’s easy to gloss over that Norbert Krief is in fact a French musician, set out to make a simple bright rock album, engrossed in personality. Krief is marketed as an old school hard rock distro, but Nono is a much more complex record. This is a light and airy rock album laden in quirky vocal and manic production, along with Krief sounding like an unhinged Christer Ortefors; which suggests that Nono really is that manic quirky record it isn’t meant to be. It’s not like he’s set out to be a Zappa l’artiste, he just is.

It’s a rarity that you’re able to jive, headbang, and ponder all within the same track, but Nono gives you no choice. Eccentric, daft, complex, fun; hello Norbert Krief.

8/10 Powerplay issue #134

Perhaps we’ve been made immune by the quality of Scandinavian progressive metal over the past decade, the formula being the Holy Grail for successive song writing on an epic scale. Surprisingly this lot are based in Chicago Illinois, that to any unassuming would swear this was the product of the Nordic plains. The Living Fields are convincing.

Layered in piano, violin, cello, acoustic guitar and electric guitar give it the kind of depth that such big ideas need for realisation. On the other hand their production, necessary for the entire piece to work as an epic lets them down – for all of their instrumentation the record simply doesn’t sound big enough. In another light it makes the checklist for anything progressive with a Nordic spin – no surprise then, to see Candlelight have fiercely hunted them down.

7/10 Powerplay issue #134

It’s the kind of rock that’s played during a crummy American drama, as the credits begin to roll after a loony remark of wit, humour or general triumph. Rhode Island Red is a super smooth, light production, that’s meant to be listened too while sipping a few margaritas with your date. Made up of three tracks, this single floats within the boundaries of pop rock, relying on front woman Lyla D’Souza to carry the band through uplifting choruses, and massive key changes. With that said it’s difficult to fault Kerosene; laden in great musicianship, catchy tunes, and solid production. Their definition will ultimately be down to D’Souza’s vocal, and the question still remains unanswered - can she carry them through an entire full length? In any case, this is a very promising, accomplished preview.

7/10 Powerplay issue #134

In the spontaneity of it all, speed metal shouldn’t be dissected into hashed out sections of dextrous power chord progressions – it’s just meant to be energetic, angry fun. So, while Dekapitator flimsily whizz on, riff by riff, the entire thing is glued together with the bands tight individual performances and a belching vocal akin to Paul Baloff of Exodus – as gathered, this is an invitation down memory lane, with no attempt to change the speed formula, but play on it. With that said, this will tear apart most headbangers because of its shear speed and brutality. It’s a snappy collection of songs too, each clocking out on average two and a half minutes. Brace yourself.

We Will Destroy… You Will Obey!!! is the reissue originally put together in 1999, and 12 years on, the scooped nineties production has more charm in its age, than something shrivelling in longevity. Indeed, this is only limited to fans in the niche, and they’ll be gloriously satisfied.

7/10 Powerplay issue #134

Usually putting a red line through a commercially viable band like Grinspoon is an easy task, but they touch base with so many different artists it’s difficult to highlight a precise definition – one thing this serves to do is push into the fore what Grinspoon should be: a creamy rock ballad act. Six To Midnight tries with the edge, the brashness and anger, but it never comes to fruition – it’s more part of the process of getting to the softer ballad tunes, which is a real shame, as the record only contains two sing-along ballads.

Perhaps it’s insecurity or a lack of faith in their own abilities, but they’ve clearly got the know-how on ballad-craft, with everything else going by the wayside. With that said, there are two tracks that’ll be adored by your sister; but for the men amongst us, you’re left with a fledgling look at Blink 182, Limp Bizkit, and Weezer. Flex those guns, or don't.

5/10 Powerplay issue #134

It’s the kind of southern hard rock that has more akin with contemporary pop than it does with the likes of BLS, and the hardest pill to swallow is that Last Known Addiction want to be edgy, scruffy, beer swaggering Texans (excuse the stereotype). The main problem lies with vocalist Stephen Cairns, who sounds far too clean to be in front of the edge which the guitars do their best to provide. It’s not a necessity of vocal range – after all the man can sing – but his pretentious performance is like your funny uncle grabbing the microphone at a family wedding, who starts to yell over a Bryan Adams sing along for a laugh. Sure, these guys can write southern hard rock, but performing it is another matter.

With that said, there’s no attempt to try anything different in the genre, as Last Known Addiction are happy enough to flex their muscles inside of the bubble. It’s a valid contribution, but one that doesn’t cut its teeth in personality, and is far too safe in imitation.

6/10 Powerplay issue #134

Everything from The Roots of Dreamers structure, pacing and ideas are completely workable inside of its genre, but for what positives it builds upon, it severely lacks in basic production qualities, such as performance, and layering. Added to the damning, this is a progressive record, littered in bridled piano playing and guitar melody, yet it falls flat because each instrument does its own piece in isolation. Why haven’t the sections been cut on top of another?

This being a mash-up of progressive and doom dirge, its intentions are clear with well thought track planning and coherent song structure - if the only beef resides with production and performance, then they’re on the right track.

6/10 Powerplay issue #134