Peter Dolving - Thieves and Liars (2012)

Swedish composer and musician Peter DOLVING is probably best known as a member of Swedish band The Haunted, where he provided lead vocals for a brief period when they started out, and then returned in 2003 for a nine year long haul in the same capacity. A relationship that came to an end in  2012. "Thieves and Liars" is Dolving's first solo album following his break with his former band, and was initially self released in the fall of 2012, with an official release through Deadlight Entertainment following in January 2013.

On the 11 tracks that makes up this disc Dolving will leave the majority of his listeners more than a bit mystified, as this isn't a production that sports to many details binding everything together. An overall closed in sound due to mix and production is perhaps the strongest identity detail at hand, with Dolving's often partially spoken lead vocals another details that to some extent can be described as uniform throughout. Apart from that this CD is the musical equivalent of an improvised stew, a lot of bits and pieces of more or less dubious origins cooked together, served on a plate while the chef hopes that the various ingredients in  the gravy actually works in combination.

By and large my opinion is that the end result is worthwhile on this occasion. There are plenty of subtly twisted effects throughout, details from psychedelic rock and post rock are applied with the same ease as indie rock and alternative meta. Occasional post metal tendencies pop up on regular occasion too, and there's even a nod or two in the direction of krautrock and punk. With lead vocals delivered in a manner one might suspect a hypothetical child of Alice Cooper and Tom Waits may have developed, possibly while having a joint hangover and anxiety attack.

The important detail that makes this all tick rather than assembling into a chaotic mess is the solid rhythms foundation everything else is applied on top of. Compelling bass lines, more often than not of the heavy variety, and the quirky and at times fairly intricate drum patterns courtesy of Per Möller Jensen. A solid rhythm department have been the saving for a number of productions in vastly different styles over the years, and Dolving's "Thieves and Liars" is another testimony to just how much this basic feature can elevate individual songs as well as an album as a whole.

Dolving has made himself a fairly challenging creation with this disc, and the myriad of styles explored as well as the twisted details applied throughout results in an album that won't have a broad appeal. But those looking for innovative musical fare and don't mind healthy servings of angst and anger, the latter in particular, might well find this chaotic and mixed journey to be a compelling one.

My rating: 71/100Track list:
1. Meinhof
2. Song For You
3. Hands On
4. One Sweet Moment
5. Ordinary Folk
6. Sunday Mornings
7. Cocksucker Blues
8. My Will To Die
9. No Solicitors
10. So Sick
11. All This Beauty

Transcend - The Mind (2011)

Canadian foursome TRANSCEND was formed in the summer of 2006, and it took them five years to create, develop and record what was to become their debut album "The Mind", initially self released as a digital download in 2011, and in 2012 given a hardcopy release courtesy of US label Melodic Revolution Records.

In terms of style there's basically two bands worth mentioning as comparisons for this act. The first and least important is Rush. Traces possibly inspired by these fellow Canadians pop up on a few occasions throughout, mostly in the less intense passages, but all in all is a minor direct influence as far as I can tell. But a band you can't avoid mentioning when dealing with Transcend is Dream Theater, and in particular the sound that band explored around the time when they release Awake. As far as major influences go this one merits a description as certain rather than possible, although there is the odd chance that it's a case of indirect rather than direct inspiration.

This Canadian foursome is an ambitious crew it seems, as their first foray into the world of recording artists is a double album, and a conceptual creation to boot. In a day and age where just about anyone easily can release whatever they want of music it isn't that unheard of to have such a creation as the opening move in a future career, but it is still unusual enough to merit mentioning. This is a Canadian quartet that comes across as high in confidence and self belief, and with dedication to see it through as well. Which is a nice detail to observe in a young, up and coming band.

The music itself isn't quite as ambitious. The majority sticks to a slow to midpaced tempo, with occasional runs of a more spirited nature. There's plenty of variation however, with alterations in pace, intensity and mood throughout, but generally lacking the more demanding and intricate, quirky dimensions of aforementioned Dream Theater. But there's good flow and momentum throughout, and they know how to work a tune to take it from bombastic themes to gentler grounds with a natural grace and smoothness many might envy them. The use of guitars and keyboards as counterpoints and contrasting features is a skill they master, as is using both sets of instruments as harmonizing entities creating majestic, richly textured arrangements. A detail more peculiar to this band is that they frequently opt for guitar and piano combinations, a variation that most often result in themes that are joyfully and subtly different from what many other progressive metal bands create.

Mix and production does leave a bit to be desired however, and while bass and drums are employed quite nicely and to good effect these instruments doesn't manage to elevate the compositions either. But the studio efforts and the contributions from the rhythm department is passable, by all means, but to my set of ears these details of the complete whole is of the bread and butter variety as far as quality goes rather than something better.

The weak link in this band however, at least for this set of ears, is the vocals of Costa Damouliano. His voice and delivery works at times very well in the gentler parts of this album, but whenever he needs to add emotional impact or deliver the vocals more forcefully the end result becomes too strained. Perhaps a tad out of tune on occasion, but a more frequent listener experience is that he fights a losing battle to control his delivery whenever vocals with a higher degree of impact is needed. Especially when he has to use the higher parts of his register. I know I'm incredibly sensitive to vocals and that many won't ever notice this, but for me this is the main reason for this album to come across as a pleasant experience rather than something a bit more interesting.

Transcend have made themselves a fine debut with "The Mind", a double CD whose major strengths are varied compositions and cleverly constructed themes based around guitar and keyboard interactions as the dominant features. If you tend to enjoy progressive metal from the Dream Theater school this is a production you can safely add to your list of music worth checking out at some point in time, as long as you're not the kind of person who has a very sensitive ear as far as lead vocals go.

My rating: 63/100

Track list:
1.1. Moment of Infinity
1.2. Entity Divine
1.3. The Love Song
1.4. Reign Over Me
2.1. The Mind Part 1: The Mind Awaits
2.2. The Mind Part 2: To Walk Away
2.3. The Mind Part 3: New Horizons
2.4. The Mind Part 4: Carved in Stone
2.5. The Mind Part 5: In the Shadow of My Mind
2.6. The Mind Part 6: Downfall
2.7. The Mind Part 7: Ascension
2.8. The Mind Part 8: A New Mind for a New World

Paul Hayworth - Scar (2012)

Austrian composer and musician PAUL HAYWORTH isn't the most highly profiled artist in his homeland nor elsewhere, although I do understand he has experienced some relative success as a member of the band Freud. He appeared as a solo artist in 2011, and throughout 2011 and 2012 he made a plethora of his solo recordings available on the Bandcamp website. When and where these were originally made I don't really know, nor of they have ever been released previously. If the latter is the case, then it's been done in a rather subtle manner though, to the extent that one can't Google some documentation on that fact. "Scar" is one the dozen or so albums by Hayworth, and was made available in July 2012.

The name of the game on this occasion is what I'd describe as lo-fi pop/rock. It sounds like it could have been recorded anytime from the late 70's or onwards, to my ears and mind sometime in the late 1990's would be an estimated guess. But the sound is timeless in a very lo-fi manner, and the music itself doesn't reveal any characteristic features that binds it to a certain time period that I can establish with my musical knowledge (or lack thereof).

The individual compositions are by and large vocal driven affairs, the instrumentation providing a backdrop for Hayworth's voice and textured inserts between the vocal passages to a greater extent than being a part of a total whole where the vocals is but one element. Besides Paul's melodic but slightly gruffy vocals, the combination of acoustic and electric guitars is a central element throughput. The former providing a stable melodic core, the latter adding darker toned textures, the occasional soloing runs and a fair amount of psychedelic oriented details on a number of occasions. To the point that quite a few items here should be of interest to those with a dedicated taste for psychedelic rock. Hayworth's vocals also reflect this mood on those occasions, opting for a lighter toned, clean and somewhat distanced delivery adding and somewhat emphasizing  a 70's mood to the proceedings.

Mix and production are the main reasons for me branding this music lo-fi. Unbalanced, and not at all clean and orderly in the manner we're used to in this day and age of Pro-Tools and other digital tools that empowers even home and amateur artists with the possibility to create recordings that sound professional. This may be an intended element for Hayworth however, specially as there's a market and general interest in lo-fi rock music despite of or possibly because of the slick soundscapes we encounter whenever we listen to contemporary music of any kind.

As far as the tracks themselves are concerned, they tend to stick and stay in the pleasant department for me. Hummable, likable pieces of music that I could listen to anytime and anyplace, but without making a grand impact of the kind that gives me a strong desire to deeply investigate them through and through. Music for any odd occasion, and I suspect that this is an album that would really thrive in the car stereo. A couple of compositions do stand out however: Opening piece Hate the Throwbacks, a nifty bass driven affair with psychedelic details and subtle electronic effects in an otherwise energetic setting. Later on the somewhat more straight forward When You're Feelin Blue also makes a subtly stronger impression, an effective combination of acoustic and electric guitars supplemented by rough vocals and an all around forceful display of 80's/90's indie rock.

My rating: 62/100

Track list:
1. Hate The Throwbacks
2. All Stars In Heaven
3. Crazy Tree
4. Carridgeway
5. Jimi's Not Dead
6. When You're Feelin' Blue
7. Rounderbout Song
8. Scar The Sky
9. Waiting

Resilience - Birth 2.0 (2012)

French project RESILIENCE was formed back in 2004, and the following year they had a demo tape ready and started working on their debut album. Following a four year long pause work commended again in 2011, and 2012 saw them release their debut album "Rebirth 2.0". Self-released as of now, but it would appear that they wouldn't mind getting some label interest for their production.

The creative heart of this band is Adeline Gurtner (vocals) and Benjamin Sertelon (guitars), and as one might surmise vocals and guitars are essential features in the music that has been crafted. The style resides somewhere in the realm of contemporary metal, and an accessible one at that.

The most striking detail of this album is a rather different one though, and one that first and foremost is found in the initial phases of their compositions. Intriguing and fairly innovative use of electronics, paired off with electric or acoustic guitars, creates compelling moods and atmospheres throughout. A brilliant approach the band might explore a bit more to my mind, as quite a few of them really made a grand impact. Instead Resilience opts to shift focus on to more conventional arrangements as the songs develop, frequently alternating between gentler passages and guitar riff driven constructions backed by the solid rhythms of Yann Van Eijk. Pleasant and fairly accessible metal with a strong mainstream orientation, with ample room for the lead vocals of Gurtner to soar, especially when the songs hit one of the tranquil phases obviously.

And when they opt to experiment also later on in the songs or for more elongated spans, not all of the more or less innovative approaches will sit too well with a core metal audience. The Fall, with some sort of twisted guitar version of modern R'n'B for instance, or the more techno-inspired electronic twists found on Rewind. Most certainly innovative and creative, but not material of the kind that will open the hearts of too many fans of acts like, say, Motorhead.

The album itself is a pleasant one though, I'll readily admit to that. With Introspection 2.0 as the high point for me, a piece that alternates between a purebred ballad expression and a harder edged metal style, with guest vocalist Daniel Gildenlöw's vocal talents elevating this piece into a a more intriguing experience by his sheer passionate delivery.

"Birth 2.0" is a promising debut album by a band that flirt with and utilize electronics and synths to good effect in an otherwise fairly mainstream oriented, accessible variety of contemporary metal. Not a brilliant beacon in the realm of metal, but one worth checking out by those with a taste for accessible metal bands that does incorporate a few sophisticated details into their material. That they have a female lead vocalist might also be a detail worth mentioning as for whether or not this is a production worth giving an initial spin.

My rating: 65/100
Track list:
1. Introspection
2. Aborted Freedom
3. Against the Tide
4. Mirror of Souls
5. Finally Be Me
6. The Edge of the Abyss Inside
7. Let Him Fly
8. The Fall
9. In the Hurry
10. Introspection 2.0
11. Threat
12. Rewind

Computerchemist - Signatures I (2013)

Hungary-based project COMPUTERCHEMIST is the creative vehicle of Englishman Dave Pearson. He started issuing material using this alias back in 2006, and have a total of seven full albums to date. The two most recent of these are Signatures I and Signatures II, both of them released in January 2013 as separate entities rather than as a double feature. Both of them featuring the talents of Zsolt Galantai on drums.

What separates these two productions, if anything, is something time will have to reveal for me personally. But as far as the first chapter of Signatures goes, it is an interesting excursion into a realm whose founding fathers were Tangerine Dream and Kraftwerk. The traces of the former a distinctive feature throughout, but with occasional details and subtle traces of the latter appearing on occasion.

Pearson's approach as a composer is one that some might describe as somewhat one-dimensional. His creations doesn't head off into unexpected directions, and he isn't too fond of applying dramatic effects either. In fact, my impression is that something of a feature throughout this album is that some care has been taken to avoid any truly dramatic occurrences whatsoever. Instead, these musical journeys open up, quickly establish one or more lead motfis or ongoing musical details that will stick with us until the end, and then the song gradually, subtly and carefully develops. Textures, instruments and patterns come and go in a logical, fine flowing and unobtrusive manner. It's like Pearson have looked at a "hush, don't disturb" sign and used that as something of a vision, we're taken on a journey where we're invited to enjoy the journey itself rather than the promise of surprises along the way.

Just how intriguing the eight journeys presented to us here will be is a matter of individual taste more than anything though. It is something of a prerequisite to enjoy compositions developing in the matter outlined obviously, but apart from that it will be an individual case just how compelling each composition will be. Personally I found the creations exploring the darker moods most intriguing, Corporatosaur and Six Phase Mains first and foremost. Complete with gently hammering electronic yet melodic effects and effective synth effects, a fine coating of drum patterns courtesy of Galantai and atmospheric guitar details of a kind that should find instant recognition by those familiar with late 70's Pink Floyd. Most impressive of all to my ears is the concluding piece though, listed as a bonus track. Landform 2012 is something of an exception to what's previously described, as this short piece utilize a fair degree of dramatic effects, although applied and utilized with care, and at least to my ears the arrangements are somewhat more intricate too, with several contrasting patterns and motifs creating a stronger nerve throughout.

All in all a fine piece of electronic music of the progressive variety, employing and utilizing elements from the art rock realms to good effect. Floydian guitar details in particular, but drummer Galantai appears to be a musician well versed in sophisticated music too and adds a vibrant, organic and skilled touch to the proceedings that does elevate the overall experience.

My rating: 75/100

Track list:
1. Caterpillar Pirouette
2. Dobdub
3. Zsoltmatic-10
4. Corporatosaur
5. Six Phase Mains
6. Convection of the 9
7. Broken Daliuette
8. Landform 2012

Various Artists: Re-Evolution, FdM Sings The Hollies

The premise for this latest collection of cover versions released by UK vinyl specialist label FRUITS DE MER RECORDS was to set matters straight for 60's band The Hollies. As the label states on their homepage: "The Hollies - Manchester's answer to The Beatles, and a bloody good answer at that. Great songs, great vocals, great band - so why are they so massively underrated?"

While I can't claim to be overly familiar with this band myself, at least the songs presented on this album does showcase a band that most likely is deserving of more attention. It's unfair comparing this material to The Beatles however, while I do hear quite a few similarities to the Liverpudlians it would appear that The Hollies didn't have their uncanny feel for chorus lines sticking like glue and recurring themes with a universal appeal. But for fans of 60's rock with a psychedelic touch it would appear that The Hollies is a band that merits an inspection. At least if these revised versions of their material is a fair representation of their output.

I understand that this particular project started out as a 4 track EP project. By the time it was finalized the 4 track EP had turned into a 4 track bonus single supplemented a full length vinyl album. Which, I guess, documents that the artists involved either had an existing fascination with this band or developed it when exploring their material following the invite to become involved. A development I guess merits an interest in this release for that particular reason alone.

The album itself isn't among the ones I'd place on the top shelf of Fruits de Mer releases however. The label's history of releasing good quality productions remains also with this item however, it's a case of a few more instances of nice material and a few less of the spectacular this time around.

In the bread and butter department this time around Beautify Junkyards take on Butterfly kicks off quite nicely, a smooth and melancholic affair light in tone and spirit. Auralcandy's version of Heading for the Fall is a pleasant affair with piano and organ as the main identity elements adding a slight The Doors vibe to the otherwise subtly Beatlesesque territories explored, followed by The Bevis Frond taking on Hard Hard Year as a slowly paced, easygoing affair lightly flavoured with psychedelic guitar details. Us and Them gives us the second run through Butterfly, and while different in expression this piece appears to be difficult to recreate in a truly spectacular fashion, at least as I perceive this piece. A nice, smooth and delicate composition, but not of the gossebump-inducing kind. Smooth midpaced rock based around vocals and acoustic guitar is the case for King Penguin's Dear Eloise too, with some nifty raga flavouring expanding the dimensions of this piece quite nicely. And when Langor concludes this production with Everything Is Sunshine, they do so in a nice and elegant manner, utilizing piano and organ with careful psychedelic touches provided by the guitar.

The remaining tracks are all subtly more intriguing, with a few cases of sheer brilliance thrown in for good measure. The Seventh Ring of Saturn adds raga tendencies and droning textures to the otherwise Beatlesesque All the World Is Love, an effective mix that should find favour amongst a majority of people with an interest in psychedelic music. Jay Tausig also opts for raga and sitar details, alongside psychedelic flavoured guitar details, for his take on Elevated Observations. Hi-Fiction Science opts for more of a minimalistic initial take on King Midas in Reverse, building up quite nicely into an impressive instrumental ending that elevates this piece into something spectacular. and continuing with a secoind piece of minor magic, The Re-Stoned transforms Then the Heartaches Began into a piece that wouldn't have been out of place on a Hawkwind album, albeit with slightly more of a punk attitude in this case. And when sampled voices and effects have outplayed their initial roles, the bubbly electronic sounds that dominate Moonweevil's take of Bus Stop is a fascinating encounter concluding side A of this 12 inch slab of vinyl.

The Gathering Grey kicks of the B side with an energetic run through Postcard, light in tine and spirit but maintaining a strong momentum, variation by effective use of Mellotron and light psychedelic flavouring. Gentle rhythms, a nifty bass motif and careful psychedelic guitar details are effectively combined for Sky Picnic's take on Try It, while The Neutron Drivers actually reminds quite a lot of Madness when they explore Water on the Brain, prior to shifting gears for a splendid psychedelic stomping finale that is. The Higher State appears to have taken a time machine and traveled back in time to a studio in the 1960's someplace for their rendering of Don't Run and Hide, a song that comes across as a true to life time piece more than anything and a very well made one at that. And finally The Electric Stars proves the worth of a sticky chorus and verse line with Jennifer Eccles, perhaps not the most impressive standalone track at hand but one that will etch itself into your brain and stick like glue.

All in all another good quality production courtesy of Fruits de Mer, and while these guys generally sell out their releases almost as fast as tickets for Led Zeppelin reunion concerts, a general advice for this one would be that those with a particular interest in 60's psychedelic rock should take note of this album. Alongside, for natural reasons, fans of The Hollies.


My rating: 75/100

Track list:
A1. Beautify Junkyards - Butterfly
A2. The Seventh Ring of Saturn - All The World Is Love
A3. Jay Tausig - Elevated Observations
A4. Hi-Fiction Science - King Midas In Reverse
A5. The Re-Stoned - Then The Heartaches Begin
A6. moonweevil - Bus Stop.
B1. The Gathering Grey - Postcard
B2. auralcandy - Heading For A Fall
B3. The Bevis Frond - Hard Hard Year
B4. Sky Picnic - Try It
B5. The Neutron Drivers - Water On The Brain
B6. Us and Them - Butterfly.
C1. The Higher State - Don't Run And Hide
C2. King Penguin [USA] - Dear Eloise
D1. The Electric Stars - Jennifer Eccles
D2. Langor - Everything Is Sunshine

Spagyrikerna: Spagyrikerna (2013)

Swedish band SPAGYRIKERNA can trace their history back to 2009, when they started out as The Spagyrics. 2012 saw them altering their band name to their current one and releasing their first single "Sekel", and on February 12th 2013 their self-titles debut album was released by fledgling Swedish label WHITE LINE RECORDINGS.

This 30 minutes long production is an interesting one. In style they reside somewhere between indie rock and art pop, sporting fairly straight forward compositional structures but with occasional quirky details and developments, while the arrangements caters for the majority of the art pop associations that comes to my mind.

The majority of the tracks have a tight drum and bass foundation at the core of the proceedings. The most intriguing ones to my mind opening effort Den förste kärleken, sporting a massive, loud and fairly intricate drum pattern in tight interaction with a circulating bass motif. An energetic foundation for the emotional lead vocals to play upon, supplemented by circulating electronic sounds and nifty, effectively utilized guitar details. Slowing down ever so slightly and adding a subtly lighter tone for the chorus. A brilliant piece of sophisticated, energetic pop/rock. Just as intriguing but rather different is final piece Rensa ut allt, on this occasion with a steady, dampened drum pattern and a fairly sophisticated bass motif as the foundation, sporting a light toned, recurring guitar motif, layered keyboards for the chorus and an intense, majestic instrumental final passage that ends this album on a high note.

The rest of this album generally holds a high quality too. The gently hammering rhythms and somewhat more simplistic piece Bakhåll and the slower paced, melancholic In med mörkret the least convincing to my ears. Both of them more pop-oriented affairs with a presumably wider overall appeal. Otherwise drums and bass are used to good effect to establish a driving foundation for the lead vocals, which are the central element in all songs, to play upon, and well thought out contributions by guitars and keyboards supplement the core elements quite nicely. Keyboards and guitars contrast each other quite nicely, at least in the instances when both aren't utilized as counterpoints for a more dominating bass guitar, and the moods and atmospheres created and explored are well made and appealing overall.

If you're in the mood for pop/rock somewhat more sophisticated in nature than what you usually encounter on FM radio, Spagyrikerna's debut merits an inspection. Especially if you have a particular fascination for compositions revolving around dominating bass and drum motifs.

My rating: 80/100


Track list:
1. Den första kärleken
2. Stekel
3. Tumba
4. Sträck ut mig
5. Bakhåll
6. Donatorn
7. In med mörkret
8. Rensa ut allt

The Grand Trick: The Daily Dose (2013)

Swedish band THE GRAND TRICK was formed back in 2003. They have two full length albums and two EPs to their name so far. "The Daily Dose" is their third EP, and is due for release on March 1st on fledgling label WHITE LINE RECORDINGS.

And this three track EP, clocking in at just under 15 minutes, should be a treat for fans of classic era oriented hard rock. Opening and title track The Daily Dose kicks off in a tight and energetic manner, with finely controlled relaxed lead vocals underscored by a pace-filled, tight drum and bass foundation and dampened impact riffs, with an effective organ texture hovering on top in a manner that might give rise to associations to a band like Deep Purple. Perhaps with a slight touch of The Doors as well. A splendid piece of music that hopefully will find it's way to FM radio and a track that deserves recognition.

The following item Mudbound is more of a traditional blues based hard rock affair, with recurring piano and blues guitar details, a recurring guitar and bass driven theme acknowledging the legacy of early Black Sabbath and a slight touch of Blue Oyster Cult at times. Well made and well performed, but not quite that much of a high impact piece to my ears.

Falling kicks off in a manner very similar to opening piece The Daily Dose, but with more of an emotional lead vocals delivery. And for this last compositions a slower paced, lighter toned and arranged second theme is inserted as a recurring element, adding a touch of the rock ballad to this creation, and fans of progressive rock and sophisticated vintage rock alike will also appreciate the calm break in the second half with piano and flute backed by the good old Mellotron for a suitably sensitive passage further enhancing the emotional aspect of this piece.

A high quality EP that, at least to my ears, is the most interesting production by this Swedish band so far. Not a release to seek out if you want your music to seek out new boundaries and sounds, but of high quality hard rock with one foot and a set of eyes firmly set in the 1970's is to your liking this is a production you should enjoy.

My rating: 93/100


Track list:
1. The Daily Dose
2. Mudbound
3. Falling