Print Edition: February 19, 2014
Within Temptation
Hydra
Within Temptation, a symphonic metal seven-member from the Netherlands, does not disappoint. They have shown diversity throughout their six studio albums, and put on full display classic melodic metal with strong string accompaniment on their new album Hydra. The opening track “Let us Burn” blends Sharon den Adel’s powerful vocals with a post-grunge influence and a powerful guitar solo that makes it a kick-in-the-ass opener. It leads perfectly into my favourite track, “Dangerous,” where symphonic metal meets melodic thrash metal, and features Howard Jones (formerly of Killswitch Engage) sharing the vocals. As bonus tracks on Hydra, the band released four covers, and I love their version of Imagine Dragons’ “Radioactive.” Their cover shows glimpses of their earlier works, with a thrash metal influence in the song. The album’s latter tracks are composed of killer songs “Silver Moonlight” and “Tell Me Why,” where they turn up the already strong guitar from Ruud Jolie and Robert Westerholt. The album does not disappoint, finishing off with the ominously commanding track, “The World is Watching.”
Reverend Horton Heat
Rev
The Reverend Horton Heat isn’t a man, a band, or a holy roller. It’s an institution of hard touring rock ‘n’ roll. Guitar blazer Jim Heath as lead pounded the interstate with this rock ‘n’ roll train over two decades and countless different genres: rockabilly, psychobilly, metal, country, blues, jazz, and psychedelic rock. But two words sum up the Rev’s latest collection of fiery missives: rock and roll. Take Brian Setzer and Eddie Van Halen, multiply them by Jimi Hendrix, add two doses of Slash and some Billy Gibson, and you still don’t have what it takes to keep up with the chicken’ pickin’ goodness that makes up Rev. Absurdly creative, maestro-style guitar work is joined with country blast beats and stand-up slap bass that will kick your foot into a clutch at 120 miles (yes, miles) per hour. This is all-American music from a time when America’s values were spoken through the throttle of an engine. Legendary road dogs, the Reverend’s band hits up every town in North America at least twice a year. While other bands are dancing circles around laptops and strobe lights, these guys play circles around anyone, anywhere, ever. Get ready, the world’s best rock ‘n’ roll band is back on the decks.
Sam Roberts Band
Lo-Fantasy
What’s in a name? Well, when it comes to Montreal-born rocker Sam Roberts, apparently a lot. Lo-Fantasy, the fifth studio album from Sam Roberts and his mates, and second under the moniker Sam Roberts Band is more in tune with the band’s 2011 release Collider than with his previous three albums, which billed Roberts as a solo act. Doubling down on their psychedelic dancefloor grooves, Sam Roberts Band brought in acclaimed producer Martin Glover (Youth) to aid them in their quest to discover new electronic territory. Youth, who has worked with big name acts like Paul McCartney and the Verve, successfully brings back the perky and fresh sound of Roberts’ debut We Were Born in The Flame. While the band’s ambition may lie too far outside their comfort zone, the tracks on Lo-Fantasy are all sturdy pop songs. “Human Heat” offers a mishmash of Sam Roberts’ traditional barrage of guitars and Youth’s glossy production, while the album’s standout track “Kid Icarus” resembles XTC’s punchy new-wave sound. Although Lo-Fantasy is far from Sam Roberts’ best work, it’s got upbeat melodies and expands the band’s horizons.
St. Vincent
St. Vincent
Are you in the mood for some poppy-catchy-psycho-indie-electronic tunes? I know I am — I always am — which is why picking up St. Vincent’s self-titled album was such a pleasant and exciting surprise. It’s the perfect mix of pop and distortion, kickdrum and choppy guitar. Every element and instrument has come to play, not least of all the vocals of Annie Clark, who seems to be a child of (and all the best parts from) the Moody Blues and Florence and the Machine. She has a comfortable alto, equal parts croon and belt, with just a touch of punk to season. Opening track “Rattlesnakes” breaks the album open with what sounds like a campy videogame theme and a manic energy that is too legit to quit, followed by “Birth in Reverse,” the sort of song that would play in a movie version of your life where you put on headphones and dance around the house in your underwear. But my favourite track by far is “Prince Johnny,” one of two pseudo-love songs on the album and a power ballad worthy of the Moody Blues. Her sultry croon comes to us through the ambient mist of a digitized choir and kick drum, and it’s like glimpsing an angel through the clouds.
