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Italian quartet JOHNFISH SPARKLE first appeared as a trio with their debut album released by Swedish label Transubstans Records back in 2009. Since then a fourth member have joined their ranks, they've played quit a lot live I believe, and in the fall of 2011 they released their second full length production "Flow", again opting for Transubstans to handle that particular matter.
On their initial effort, late 60's and early 70's hard psych bands catered for many of the musical touched I found myself associating with this act, perhaps with a few touches followers of early Rush might find to be familiar sounding. And while the former is less of an issue this time around, the latter still remains a tendency for this trio come quartet out of Southern Europe. And the main scope of their sound has moved forward a few years, now apparently residing closer to the mid 1970's in general and at times rather close to one of the giants of that era in particular.
At their best for this follow-up album we're treated to material made up by energetic, refined drum patterns, a driving melodic bass motif and lighter-toned guitar replicating the latter in a sophisticated manner by way of fluctuating riff patterns with clever use of impact riffs, and frequently adding a great deal of psych tinged to the expression. And on top throughout: The distinct vocals of Maurizio Morganti, a singer who comes across as the slightly more relaxed kid brother of Robert Plant.
And when that is said, it shouldn't be at all surprising that it is the mighty Led Zeppelin that appears to have branded this production with their legacy. In compositional structure, the manner in which many riff patterns and movements have been assembled and the vocals are the threefold elements that contain most of the association inducing elements for me, although the rhythm section does have good tendencies as well. But also with nods towards the aforementioned Canadian proggers, or perhaps to the bands that in their time inspired them, and all of it given a liberal psych-oriented flavouring.
At their best, Johnfish Sparkle conjure creations that wouldn't have been out of place on a Zeppelin production. The high point for me the obviously blues-drenched Downhill Blues, that opens as a slow, intense blues rock affair that gradually grows into an intense monster of a bluesy hard rock construction. But also the two opening efforts and Spiral Confusion are high quality endeavours I imagine will interest fans of good quality 70's hard rock in general and fans of a certain aforementioned act in particular.
The second half of this disc comes across as slightly more generic however. Intense and energetic songs, with many fine performances and clever details, but without the undefinable magic of the opening cuts. Even slight touches that may be inspired by the likes of Jimi Hendrix or Robin Trower appear to be pleasant rather than vitalizing, and I suspect that for these numbers the recording studio haven't managed to capture the essence of these songs good enough. A piece like A Phoenix Flight in particular a creation I suspect is a real monster when played live.
A Fine album with some moments of true magic is what Johnfish Sparke presents with their sophomore effort "Flow", a production recommended to fans of mid 70's hard rock in general and fans of Led Zeppelin in particular. And a band I suspect will be very well worth experiencing in a live setting for just this audience.
My rating: 72/100
Track list:
1. Hard Times Goin' On 5:03
2. Benzai-Ten 5:18
3. Downhill Blues 8:41
4. Spiral Confusion 5:12
5. The Circle 5:37
6. The Traveler 4:52
7. Gaudi's Run 1:45
8. Not Alone 5:23
9. A Phoenix Flight 6:18
10. Crazy Lady 4:46
Swedish band CHILLIHOUNDS first appeared back in 2006 or thereabouts, and have three albums to their name at the time of speaking. Their two initial albums were released by Italian label Nicotine Records, but then they signed with Swedish label Transubstans Records for their third and most recent production "Shake Your Skull", issued in the fall of 2011.
Transubstans Records is a label well known for a roster of bands exploring the sound of the 1970's, with progressive rock and stoner rock as some of their specialities. But in the case of Chillihounds, the label deviates a bit from that particular norm, as this is a band with a rather different touch.
In short we're dealing with a band that may as well be described as good time party 'n roll. With a 70's feel to their material, but probably based around the mid to late part of the decade in terms of style. The compositions are brief, by and large simplistic in nature and with a broad appeal. Steady drums is the backbeat throughout, while darker toned, circulating and insistent bass motifs forms the main drive. Lighter toned guitar riff patterns wander joyfully in fluctuating patterns on top, while the versatile and powerful vocals of Gabriel Aadlan caters for the lyrical aspect.
In style we're talking blues based hard rock, with more than a touch of boogie in expression. AC/DC is a common association throughout, but in a manner that see the aggressive tendencies of this fine band from down under replaced with the laid back sound and arrangements of a band like Status Quo. Dirty Deeds All Over the World if you like. But rather than staying put within that one-dimensional sound, Chillihounds also add a touch of additional blues to the proceedings, in a Southern manner as on the lightly Allman Brothers tinged Evil Mind Blues or in a Texan-oriented manner like the subtly ZZ Top flavoured Control. The carefully blues enhanced details actually adds something of a US touch to the album throughout, even when the band does explore songs that AC/DC in particular could have added to their set list without anyone raising an eyebrow.
Be that as it may be, Chillihounds is a band that know what they want to do, and they do it very well. Not in an original manner and certainly not adventurous, but if you're looking for the perfect soundtrack to an evening filled with fun, fun, fun - and probably lots of beer to boot - Chillihounds is a very good choice. Blues based, boogie drenched hard rock of the kind that makes the world a better, or at least happier, place to be in.
My rating: 82/100
Track list:
1. No Vacation 2:43
2. Taking Off 3:52
3. Back in the Game 3:00
4. Evil Mind Blues 4:24
5. Cain 4:28
6. Mark of Cain 1:30
7. Heartbeater 4:29
8. Love Pays No Rent 3:36
9. 1979 4:03
10. Control 4:56
Swedish act OBRERO was formed back in 2007 by members with a background from bands from the more extreme parts of the metal society. What brought them together was a shared fascination for one of the oldest relics of the metal heritage: Doom metal, in it's original guise as well as the subsequent developments of this stylistic expression. They signed to fledgling Swedish label Night Tripper Records in 2011, who subsequently released their debut album "Mortui Vivos Docent".
I'll readily admit that my exposure to metal after 1990 or thereabouts have been limited, and that my recollection of bands and genres is that of an old fart, and rather heavily flavoured by a few years worth of writing covering bands more or less well placed within a progressive orientation. As such, some of my associations will probably be out of date, expired and buried. Or perhaps pointing towards originators who have influenced acts that these guys have listened to. Be that as it may be, Obrero is a band that have made a good impression on me.
Doom metal can be rather varied in style, from sludgy, droning excesses to acts replicating the grandfathers Black Sabbath to the point of total boredom. But references to the original doom metal band is an ingredient that has to be in place for bands exploring this style, and Obrero is no exception there. Those familiar with Tony Iommi's works over the years will find his footprints all over this production, or at least arrangements and compositional and performance approaches that documents the legacy of his groundbreaking endeavours. This Swedish act does add a few pounds of lead to the mix however, darker and heavier the main keywords covering that aspect. And when they opt for passages with a slower pace, I'm reminded of another Swedish band, namely Candlemass. Which, presumably, is a reference just about as clichéd as the aforementioned British founding fathers I guess. Obrero does opt for sequences of a darker and more ominous nature too however, adding some subtle guitar details that makes me think of another veteran act: Celtic Frost. An association that might be a tad farfetched, but that has stuck rather firmly in my mind.
Moving onwards from the namedropping department, there are quite a few details about this production that caught my fancy. Effective use of impact riffs in circulating or fluctuating riff patterns for starters, and in particular when flavoured with subtle harmonic guitar overlays. Always a welcome setup for me, the nuanced but hard hitting arrangements constructed in such a manner something I'm a sucker for. The use of keyboards (Mellotron of some kind?) warms my heart and soul too, the sheer bombacity and stark contrast of dark, massive guitar riffs and light-toned, ethereal keyboard textures a combination that many progressive rock fans tend to be fascinated by. And to pull out a couple of favourites: The Fourth Earl, the best representative of the harder hitting, massive sounding part of this band's repertoire. And Exterminate, as the most intriguing of the sophisticated constructions. As my ears and my mind experience this disc admittedly.
A composition worth mentioning a tad more in detail is Charles the Hammer. This multiple themed affair is an interesting one, the initial Sabbath-tinged part almost joyful and positive in spirit, followed by a harder hitting, intriguing transitional phase, and then exploding into a chorus of stellar quality: A simple shouted line, with majestic strings on top and doom-laden riffs beneath. Pure dramatic brilliance. The main ingredients of the chorus also given a run in a slightly different setup later on, to good effect. Not a perfect sonic experience as such, but a song you'll play over and over, eagerly awaiting the grandiose explosion of this perfectly constructed chorus section.
If you tend to like your metal served with a hard, dark and heavy flavour encapsulated within a sophisticated doom-laden framework, Obrero is a band you should enjoy and "Mortui Vivos Docent" a CD you'll most likely want to add to your collection. A fine specimen of the genre to my ears, with quite a few moments of sheer brilliance to savour.
My rating: 83/100
Track list:
1. The Wolf's Hook 6:15
2. Son Of Tutankhamun 7:38
3. Svantovit 4:58
4. The Fourth Earl 4:38
5. Octaman 4:35
6. Charles The Hammer 6:38
7. Exterminate 6:28
8. The Lost World 6:30
Italian quartet JOHNFISH SPARKLE first appeared as a trio with their debut album released by Swedish label Transubstans Records back in 2009. Since then a fourth member have joined their ranks, they've played quit a lot live I believe, and in the fall of 2011 they released their second full length production "Flow", again opting for Transubstans to handle that particular matter.
