The Calling

‘Two’

(RCA)

It’s been a tumultuous couple of years for self-confessed Nelson fanatic Alex Band. Firstly, his band, The Calling’s debut single ‘Wherever You Will Go’ becomes a worldwide hit and radio staple, and then during the recording of the follow-up album to ‘Camino Palermo’, Band is sued by former bandmates desperate for a slice of the royalties the album, singles and tours generated.

So, has all this squabbling got in the way of the creative process of creating that difficult second album, or has it inspired Band and his long-time collaborator Aaron Kamin even more?

The answer, emphatically, is the latter. Quite simply, ‘Two’ – emphasising the bond between Kamin and Band as well as the sophomore status of the band - is even more slick, polished and goddamn enjoyable than its predecessor. Once again teaming up with producer Marc Tanner, the duo – with the assistance of some illustrious session men – have come up with truly memorable efforts, such as first single, ‘Our Lives’ and the epic ‘Things Will Go My Way’. The album’s finest moments, such as the hard-driving ‘Anything’, the brilliant ‘Believing’ and U2-esque opener ‘One By One’ may be reserved for the first half of the record, but such is their quality, it hardly seems to matter.

With the emphasis firmly on killer melodies and a tight, clean sound, I can’t think of another currently popular band that embraces such old school AOR values and a thoroughly modern approach in such a successful way. ‘Two’ is one of the best albums of 2004, without doubt. (AE)

Evan and Jaron

‘Half Dozen’

(Twelve Between Us)

Twins Evan and Jaron shot to prominence in 2001 with the pop-rock single ‘Crazy For This Girl’ from their self-titled major label debut. Unfortunately, it was all downhill from there as their relationship with former label Columbia floundered. Undeterred, the duo have soldiered on and ‘Half Dozen’ is the first of two EPs the guys have recorded for release this year and on this evidence, the second is eagerly awaited.

Produced by the legendary Dan Huff (Giant), the six songs demonstrate a range of styles but no let-up in quality. Opener ‘Standing In The Middle’ picks up where the debut left of with a slight Nashville twang, while ‘Fly Away’ – co-written by the Rembrandts’ Danny Wilde – is a powerful, stirring rocker. ‘Another Mistake’ recalls Bryan Adams at his ballsy best, ‘All That I Wanted’ is another tune soaked in melody, while ‘Through The Blue’ demonstrates a more classic pop edge to Evan and Jaron’s sound. However, the absolute high point is ‘What She Likes’, an incredibly infectious country tinged pop-rocker again focusing on the typical E&J lyrical theme of unrequited love, which can’t fail to turn the heads of record execs looking for a hit single at radio.

Three older E&J songs from independently released albums are included as a bonus, and the only downside to the ‘Half Dozen’ is that it’s an EP. Bring on volume II… (AE)

Radford

‘Sleepwalker’

(Universal)

It’s amazing how the music industry sometimes works. Radford seemed to have blown their major-label chance after being dropped by RCA following disappointing sales of their self-titled debut. But it was clear that London-born frontman Jonathan Radford Mead had talent and after shopping new demos, he landed a deal with Universal Records.

Entirely self-written and mostly self-produced, ‘Sleepwalker’ is an astonishing record. With a sound that incorporates Our Lady Peace, Coldplay and even Brit rockers Suede, the album’s dark vibes and brooding mood are a marked contrast to the summery, modern pop-rock evident on its predecessor.

Opening with the superb, thumping modern rock of ‘Therapy (I Don’t Need You)’, the new sound is immediately evident. Subtle samples and effects are thrown into the mix on the pounding ‘Dead Heart’, written with such intensity about a former lover, yet still retaining a decidedly melodic edge. The delicate ‘Fake A Smile’ draws those Coldplay comparisons, while ‘Beautiful’ is another impressive, spiky modern rocker written in the aftermath of a broken relationship. ‘Out Of The Dark’ slows down the pace a little and changes the mood to a more optimistic note, while the electronica-rock of ‘Someone Somewhere’ and the beautiful ballad ‘Anything’ close an incredible album in fine style.

‘Sleepwalker’ is an intense, powerful album that serves as proof that even in the unforgiving music industry as in life, there are always second chances. (AE)

London Calling

‘You’re So Lucky’

(Atenzia)

With London Calling, it looks like Atenzia have once again proved their ability to sign some of the best up and coming modern rock talent under the radar.

With a pop-influenced sound recalling the likes of American Hi-Fi, former Adriangle member, Jamie Rowe’s new band are an impressive mix of high-octane nu-breed melodies and punchy guitars, as opener ‘American Dream’ and the excellent ‘Beautiful Day’ emphatically demonstrate.

‘New Sensation’ is a cross between Elvis Costello and The Clash, hinting as to how the band got its name, while ‘So In Love’ and ‘Fade Into Grey’ are slick, radio-ready pop-rockers. ‘Song About Nothing’ nods in a punk-pop direction and is a blast of unstoppable pop energy and closing ballad, ‘You Make My World Go Round’ is a beautifully-written song which recalls Train’s ‘Drops of Jupiter’. High praise, indeed.

In short, ‘You’re So Lucky’ is an excellent album with yet another take on the nu-breed genre. The band is already attracting attention from majors from the US, so it looks like the band has a big future ahead. (AE)

Glen Burtnik

‘Welcome To Hollywood’

(Atenzia)

‘Unorthodox’ doesn’t come close to summing up this latest album from Glen Burtnik. Complex, mesmerising but always captivating, it’s a solo album that allows the Styx member to express every facet of his creativity.

Kicking off with the awesome power of ‘Super Boy’, it’s an indication of Burtnik’s intention to crank up the amps throughout the album. ‘Welcome To Hollywood’ proves that emphatically, with a blistering track neatly summing up the chaos of Tinseltown. An instant classic.

‘In Another Life’ is a straight ahead pop-rock tune with a memorable chorus while the experimental ‘Bam’ precedes the thumping ‘Kiss Your Ass Goodbye’; an excellent rocker which originally appeared on a Styx album.

‘Heart In 3’ shares a similar vibe and sound to Kip Winger’s ‘Songs From The Ocean Floor’ opus, before ‘Roses’ cranks up the power once again in really modern, melodic fashion. ‘When The Shit Hits The Fan’ is an intense, full-on track to signal a less melodic, more experimental second half of the album, as indicated by the bagpipes, rapping and samples on the bizarre ‘The Muse’.

Fitting no categories and defying all genres, ‘Welcome To Hollywood’ is a brave, powerful album that delivers more than it disappoints and provides a glimpse into the a truly creative mind. (AE)

'I Am The Movie'

(Epitaph)

From Minneapolis, MCS are hardly an unknown quantity to the UK, having opened for The All American Rejects and Blink 182 here in the last year. But they do deserve greater exposure, especially for a strong record such as this.

The vaguely pop thrash frenzy of opener 'Cambridge' could misleadingly lump the band in with the emo movement, but although Motion City Soundtrack are a band with a certain emo feel about them, what they provide is so much cooler than the angst sodden lyricism and riffage of the bands filling that niche. The silver tongued and melodic tones of vocalist Justin Pierre, the snappy guitar of Joshua Cain, the rhythmic combination of bassist Matthew Taylor and drummer Tony Thaxton and the subtle work of Moog-meister Jesse Johnson quickly take the listener somewhere else entirely. Pop-rock heaven, perhaps??

Comparisons to other noted acts are all over the shop. Something Corporate and XTC spring to mind, but 'Shiver', for example, is pure Tsar. 'Perfect Teeth' is like Rick Springfield jamming with The Police; 'Modern Chemistry' is more akin to The Juliana Theory, while there's a real sense of 70s AOR-dom to the blazing Moog solo towards the conclusion of 'Boombox Generation'.

Yet, it's perhaps best not to search for sound-alike, rather to just enjoy the pop-tastic sounds coming forth from the speakers and to get carried away in the frothy waves of 'The Future Freaks Me Out', 'Indoor Living' ( I defy anyone not to sing along to this baby!) and 'My Favorite Accident'. The latter, incidentally, is complemented with a video in which the coolly bespectacled and wildly coiffured Pierre co-stars with a large, yet strangely  inanimate pink rabbit.

Winding down with the more studied 'Autographs And Apologies' and the supremely uplifting 'A-OK', MCS have clearly delivered an album that sets them apart from the rest as a name to keep a very close eye on indeed. Can't wait for the sequel! (DR)

Counting Crows

'Films About Ghosts: The Best Of..'

(Geffen)

Counting Crows' albums contain so many rich moments of musical quality that choosing a best of collection was always likely to provoke argument.  And so has it proved with 'Films About Ghosts', with fans, and even lead singer Adam Duritz, squabbling between themselves about its tracklisting. But to the casual fan, the Crows' 13-year career is neatly encapsulated on this 16-track opus.

When the band emerged in 1993, their rootsy, organic sound did not exactly fit in with a musical scene dominated by grunge and namely Geffen labelmates Nirvana, but the band's honesty, commitment to their musical integrity and consistent songwriting have ensured a respectable amount of longevity. Each successive Counting Crows album may have sold less than its predecessor up
until 2002s 'Hard Candy', but that is no indicator of the quality of the band's catalog.

Debut album, 'August and Everything After' sold six million copies, and some would say it contains the Crows' best works; the bleak yet captivating 'Round Here' and the heartfelt 'Mr Jones' are perhaps the highlights of this collection. But there are plenty of other noteworthy mentions here, such as
the new, excellent cover of 'Friend of the Devil', the folksy 'Omaha', the bouncy 'Hanginaround' and all eight minutes of 'Mrs Potter's Lullaby' from 'This Desert Life', as well as the joyously infectious 'American Girls' which catapulted the band back into the mainstream in 2002. Unfortunately
that means the inclusion of the band's dire cover of 'Big Yellow Taxi', but hey, best of collections never please everyone, do they? (AE)

Puddle of Mudd

'Life on Display'

(Polydor)

Somehow, Nirvana and Alice In Chains clones Puddle of Mudd managed to find overnight success with debut album 'Come Clean' in 2001, and now two and a bit years later, the band returns with a record that deserves to send them back to obscurity as quickly as they left it.

Put simply, 'Life On Display' is so bad, it is almost unbearable to listen to through its entirety. From chugging opener, 'Away From Me' to closing track 'Time Flies', it's a constant stream of bland grunge lite and modern rock by numbers with virtually none of the hooks that at least gave 'Come Clean' some semblance of appeal. Here, tracks like 'Heel Over Head' and 'Bottom' expose vocalist and writer Wes Scantlin's lyrical limitations as he repeatedly shrieks, "Sticks and stones may break my bones but words will never hurt me" on the latter, while the likes of 'Sydney' and 'Freak Of The World' merely reveal his limitations full stop.

Banal, generic and vapid are the words that most succinctly sum up this mediocre excuse for an album and while Puddle of Mudd must feel flattered to be compared to Nirvana, such a lame effort as this would undoubtedly make Kurt Cobain turn in his grave. (AE)

Goran

Any Day Now

(Aware)

Former Gufs frontman Goran Kralj is one of the most talented pop-rock songwriters around, and his debut solo album 'Any Day Now' confirms that statement emphatically.

The Gufs were one of Milwaukee's most successful bands, reaching national acclaim with the release of their self-titled album on Atlantic Records, and the trademark melodies evident on such Gufs classics as 'Holiday From You' remain in abundance on 'Any Day Now'. However, in a solo capacity, the vibe and lyrical themes of Goran's songs are a lot more upbeat and positive.

The delicate, pretty pop-rock of 'Closer You Get' is one such example, and the whole album is littered with inspiring takes on subjects such as taking chances ('Don't Look Back'), moving on ('Don't Let The Sun Go Down') and individuality ('To Be Me').

It's an infectiously melodic collection with enough of a contemporary edge to satisfy modern rock listeners who enjoy bands such as The Calling, and 'Ready To Fall' is a song that given the right promotion could easily be as big a hit as 'Wherever You Will Go'. The mid-tempo 'I'll Be Around' is of a similar ilk, and although the overly polished production of Goran and Mike Bliesner never really allows any of the songs to rock out to any extent, 'Long Way Out' and 'Easier Said' sufficiently raise the tempo. The dark and brooding 'Stay' is an intriguing listen, and precedes beautiful closing
track, 'Until You're Gone', a spin-chilling, highly personal piano ballad which manages to remain on the acceptable side of heartfelt.

Some listeners may find the songs here too commercial, but Goran makes no excuses for that. 'Any Day Now' is an album made on his own terms and undeniable proof of his underrated talent.


Matt Nathanson

'Beneath These Fireworks'

(Universal)

After releasing five independent albums, San Francisco's Matt Nathanson has finally hit the big league by signing with Universal. He may be tipped to be the next John Mayer or Jack Johnson, but Nathanson's major label debut is closer to the Goo Goo Dolls' more commercial moments in style and leaves the sense that the transition from indie has diluted his immense talent.

Long-time fans will be disappointed by the manner in which expensive producers and engineers have polished his sound, and even there's no denying the appeal of songs like the urgent 'Suspended' and the emotive 'I Saw', the album sometimes feels a little too slick. Indeed, the singer-songwriter has
surrounded himself with some the best session musicians out there on 'Beneath These Fireworks', yet note-perfect potential hit 'Bare' seems somehow contrived. 'Curve of the Earth' continues the Goo Goo Dolls similarities with its syncopated acoustic rhythms and commercially viable chorus, while 'Bent' is typical Dawson's Creek fare.

But the delicate acoustic ballads 'Angel' and 'Little Victories' impressively get back to Nathanson's roots, and give the impression that a more accurate representation of his work can be found on stage rather than on vinyl. (AE)


Wheat

'Per Second Per Second Per Second. Every Second'

(Aware)

There comes a time in each band's career when they reach the zenith of their ability and finally define their sound in emphatic, triumphant fashion. 'Per Second, Per Second, Per Second. Every Second' is that moment for Massachusetts' Wheat.

From the first bars of the gloriously upbeat and anthemic 'I Met A Girl', it's clear the promise Wheat hinted at on debut indie single 'Death Car' in 1998 has been fulfilled in spades with this pop gem of an album.

Singer-guitarist Scott Levesque has suddenly discovered a sunny disposition to replace a seriously introspective demeanour, and it's written all over tunes like 'These Are The Things' and 'Some Days', making for some of the most enduring contemporary pop-rock you'll hear for a long time. Even though
no two songs sound the same, each track shares Wheat's trademark edgy vibe and left-of-centre melodies, as demonstrated by the outstanding 'Breathe For Me Now' and the infectious 'Go Get The Cops'.

'World United Already' is another statement of intent; a sure-fire radio hit but also a song true to Wheat's past and present, while 'Hey, So Long Ohio' is a slice of cerebral pop examining the perennial Wheat theme of suburbia, and 'Can't Wash It Off' continues the diversity with an almost honky tonk vibe and a typically original rhythm.

Put simply, Wheat have dared to make an album that pushes boundaries and one that will remain valid for a long time to come while the band wrestle with the problem of how to somehow improve on it next time around. Essential. (AE)

Prime STH

'Beautiful Awakening'

(MVG Music/Music Network)

There aren't many bands in the music business that don't sell a million records after working with Max Martin, but unfortunately, Sweden's Prime STH is one of them.

The band co-wrote one of the best modern rock songs of 2001 in 'I'm Stupid - Don't Worry 'Bout Me' with the man behind most of Britney Spears' early hits and countless other chart successes, but despite its huge choruses and contemporary vibe, debut album 'Underneath the Surface' failed to make an impact Stateside.

After splitting with Giant Records, the band headed back to Sweden to record the follow-up, and 'Beautiful Awakening' is the impressive result. Those trademark Prime STH melodies are still in evidence and if anything, the band has a more commercial sound this time around. Tracks like the superb 'She's In Hollywood' and 'Part of Me' recall influences as diverse as Feeder and even Def Leppard and prove that the band don't need Max Martin's assistance to write a great song. Opening song, 'This Time' defines the band's sound with muscular guitars, a tight rhythm section and the powerful vocals of lead singer Noa Moden, while the title track reinforces the dark edge to the
band's songwriting. All good stuff, but the highlights of a solid and consistently strong record are the explosive 'Pieces' and the raucous 'Fishbow', which both possess slow-burning, infectious hooks.

Some may say Prime STH's best chance of success rested with their association with Martin, but on the evidence of  'Beautiful Awakening' there's a whole lot more to the band than that. (AE)


The Clarks

'Fast Moving Cars'

(Razor and Tie)

Pittsburgh natives know great music when they hear it. Not only do they warm to the talents of local singer-songwriter Bill Deasy, but they also worship at the feet of The Clarks. Superstars in their home city, yet virtually unknown outside of Pennsylvania, the band have probably become comfortable
with such a curious level of lop-sided success by now, but maybe, just maybe, the band's seventh studio album, 'Fast Moving Cars' will finally drive the band on to nationwide success.

The band's third effort for New York-based indie, Razor and Tie (and third with acclaimed producer Justin Niebank) will no doubt shift the band's regulation 40,000+ copies in the Pittsburgh area, but it's not merely loyalty to local heroes which guarantees such success; The Clarks are able to sell out 13,000-seater arenas in Pittsburgh as a result of the consistently good music they produce album after album.

The band's most recent studio album, 'Another Happy Ending' made the Billboard Top 200 in 2002 and dabbled with different sounds and production approaches at times, but on 'Fast Moving Cars' The Clarks return to their staple sound of drums, bass, guitar and voice with impressive results.
The driving, insistent beat of opener 'Hell On Wheels' sticks resolutely to the band's tuneful pop-rock formula and confirms that the band are back in fine style, especially when vocalist Scott Blasey launches into the song's soaring chorus. Ditto brand-new anthem 'Shimmy Low', a song that deserves to lift the roof off arenas nationwide, not just Station Square in Pittsburgh (or, indeed the Mellon Arena, home of the Penguins! - DR).

'Fast Moving Cars' showcases the songwriting talents of all four band members, and although Blasey and bassist Greg Joseph contribute the lion's share, guitarist Rob James' raucous rocker, 'You Know Everything' warrants special mention. Such a democratic approach cements The Clarks' sound and
makes for an eclectic listen, with the excellent laid-back title track, mid-tempo 'Wait a Minute' and acoustic 'Train' adding diversity to the more traditional, straight-ahead tunes 'Gypsy Lounge' and 'Anymore'.

Elsewhere, the quality level is maintained with the rousing  'Happy' - a song, curiously enough, about depression - the poppy 'Blue' and the sublime 'Take Your Time', all of which should add to the already-oversubscribed request list for live shows.

Fans of The Clarks know that each new album always delivers the goods, and 'Fast Moving Cars' is no different. As the title suggests, the album will hopefully take the band on a journey into the consciousness of other music fans quicker than a NASCAR Chevy. (AE)

'Word Of Mouth'

(Domino)

Wakefield based blues rockers The Blueskins have been steadily building up a following throughout the UK thanks to consistent touring and receiving a great deal of positive press interest, including a full page spread in the 'NME'.

However, the quartet's recorded product so far - a brace of EPs - hasn't really lived up to what this band delivers on stage. Certainly nothing has come close to the explosive performance I witnessed a year ago, when the group blew the very poor 22-20s off the stage at Nottingham's 'The Social' venue.

Thankfully, 'Word Of Mouth' has addressed this problem. Despite frontman Ryan Spendlove claiming to me the last time I saw the band that they were perfectly happy with the almost garage like production of their first EP for Domino, here (with the help of Spacemen 3's Richard Formby) they have captured the fat, rockier vibe of the live show to perfect effect.

Despite being a little unrefined in terms of songwriting, this is still a young band in development, although their influences are certainly more geared towards the great blues rock bands of the 60s and early 70s than their peers. It's actually what makes them unique.

Although opener 'Bad Boy' suffers from having one too many time changes (tho' kudos go to drummer Paul Brown who is excellent throughout), 'Stupid Ones' is far more impressive and should've introduced the album instead.

 With a hint of The Jam's 'Eton Rifles' at the start, 'Stupid Ones' is one of The Blueskins' best tracks and one on which Spendlove has a virtual fit performing on stage. 'Tell Me I'm Someone' is a similar song and evocative of the more psychotic moments of Cheap Trick. 'Take Me Home', on the other hand, reminds me of Free!

The Blueskins' 60s influences are far more pronounced on 'Go' (although Spendlove bizarrely sounds like W. Axl Rose in places) with its Yardbirds meets The Who approach, whereas 'Change My Mind' , 'My Love Is Law' (featuring chunky bass lines from Maff Smith and crisp riffs courtesy of Ritchie Townsend) and 'Love Boat' go for a more bluesy, folky approach.

Curiously, 'Ellie Meadows' appears to go for a cuter, pop angle. But, of course, that's 60s style pop rock rather than any modern sounding nonsense.

There's still some work to be done on the songwriting front, but it's pleasing to hear that the band have achieved on record what they're capable of live. And, if it's a quicker summary you're looking for, then The Blueskins could well be described as the retro sound of the future. (DR)

‘Tripped Into Divine’

(Sixthman)

‘Tripped Into Divine’ is the kind of record you want to stuff into the hands of a Stereophonics fan and say: "Yes, but imagine if they were THIS good!" This, Dexter Freebish’s sophomore record, comes a long 4 years after their Capitol Records debut. Victims of corporate politics, the band have opted for the independent route, following their friends and close associates Sister Hazel, yet have maintained the quality of the major label record.

At times Dexter Freebish come on like an adrenalized Nine Days, notably on ‘Ghosts’ and first single ‘Prozak’ whilst at other times there are Dakona-like hints in a U2 direction. Throw in the name Far Too Jones and you get an idea of the appeal of this record. ‘Prozak’ rocks it’s way to a huge chorus while ‘Pretty People’ treads a different path, bringing to mind INXS with its funky chops. And when Kyle sings "I cannot help it if I’m so good looking, I cannot help it if I have the perfect body" I feel his pain! Oh the irony!

‘How Do I get Through To You’ is a paean to unrequited love and all it’s issues and a song that deserves to be heard pouring from radio speakers across the globe, as does much of the rest of this record to be honest! The U2 influence rears again on ‘Heavy’, while the mandolin intro to ‘What I Need’ is almost REM-like before bursting into Nine Days territory again.

Produced by Matthew Wilder (No Doubt) the quality level never drops right through to closer ‘Breakdown’ with it’s Beatles-esque string backing. Yet, in a world where Nine Days, and The Rising have been dropped leaving completed records unreleased, quality counts for nothing. Just luck.

Don’t download or burn this record BUY it. Dexter Freebish deserve to be lucky. (CW)

‘Standing Tall’

(Atenzia)

It takes a great deal to get me excited about a pure AOR album these days, but Spin Gallery prove that there is life in the genre yet.

‘Standing Tall’ was clearly a labour of love for those connected with it. From the impressively handled production by Tommy Denander to the performance of the glossily painted songs, there is something about this album that instantly lifts it way above anything of a similar nature. This is the best AOR record I’ve heard in at least ten years.

Tommy Denander played the bulk of the instrumentation alongside Marcus Lilleqvist on drums. Three fellow Swedes, who provide the vocal icing to the Spin Gallery cake, joined him on the quest to make the perfect AOR record. And Christian Antblad, Kristoffer Lagerstrom and Magnus Weidenmo all sing like angels.

Perhaps familiarity has a part to play, the material being best likened to Mr Mister, Toto and Yes, if you require a very brief summarisation. But digging deeper….

Highlights? Loads of ‘em………….The title track evokes the all too brief dalliance with the high life enjoyed by Invertigo. ‘To Hell And Back’ sounds very comparable to ‘Talk’ era Yes. The Toto-esque ‘Living Without Loving’ features some very Van Halen-ish guitar patterns from the underrated, but always busy Tommy Denander. And if I tell you that ‘Satisfied’ brings Nelson to mind as well as a Tommy Shaw fronted Styx, you know that’s got to sound classy!

Even better, ‘Am I Wrong’ has textures and rhythms reminiscent of Richard Page and Patrick Leonard’s excellent 3^rd Matinee project. Ironically, Page penned another track – Waiting In My Dreams  –  whilst the awesome ‘My Heart’ was written by Clif Magness.

'Standing Tall' is quite simply mouth-watering stuff. (DR)

Lostprophets

‘Start Something’

(Visible Noise)

Huge, weighty slabs of precision metal riffage combined with a nu-breed sense of melody and harmony greet you the moment ‘Start Something’ kicks off with ‘We Still Kill The Old Way’. It’s a hybrid of Jimmy Eats World, Machine Head and Story Of The Year.

Although the rough edge to the vocals of Ian Watkins on ‘To Hell We Ride’ harks back to the band’s previous release, this is on an altogether more stellar level. And Eric Valentine’s production and mix is spot on. ‘Start Something’ is an album that takes the Welsh outfit into the big league.

At their most melodic – ‘Hello Again’, ‘Goodbye Tonight’ and the beautiful ‘Sway’ – visions of The Juliana Theory spring to mind. ‘Last Train Home’, meantime, is on a par with the aforementioned Jimmy Eats World's best 'Bleed American' material.

The intro to ‘I Don’t Know’ borrows from ‘Message In A Bottle’ by The Police a little. Or is it ‘Don’t Fear The Reaper’ by Blue Oyster Cult? You decide. Either way, the track is ultimately topped off with some very tasty, frantic riffing.

Elsewhere, the highly orchestrated ‘A Million Miles’ is a cross between Faith No More and Story Of The Year, while ‘We are Godzilla, You Are Japan’ merely comes across as retro-shouty stuff that’s a ghost of the debut ‘The Fake Sounds Of Progress’ record.

Ironically, despite debuting on the ‘FIFA 2004’ computer game back in late 2003, the first single, ‘Burn, Burn’ still remains atop the best on offer. (DR)

Skew Siskin

‘Album Of The Year’

(UlfTone)

Not quite album of the year material in my book, but an impressive showing nonetheless, is the comeback record from Berlin metal troupe Skew Siskin.

Singer Nina C. Alice has gone through something of a radical makeover in the image department, but her voice remains as fiery and gritty as ever.

Opening with the relentless pummelling of ‘We Hate’, the ensuing ‘Girl On A Mission’ comes across exactly as if Marilyn Manson were a female. Very Manson-esque drumming patterns shake the song’s foundations, setting the backdrop to a song that is pure, anthemic rock. Nothing less!

‘Hate Lies’ has a similarly modern feel; resplendent with an industrial edge that reminds me of Rob Zombie and Machines Of Loving Grace in places.

However, ‘Shake Me’ could have come straight out of the 80s. Check out those guitar tones! This could be Motley Crue, Krokus or Malice! Such a theme is continued elsewhere on ‘White Trash’, ‘Jesus Of Cool’ (that even hints at Rose Tattoo a little) and ‘2Much4U’.

A couple of tracks are a little dull – the ballad ‘War And Peace Song’ and the slightly messy ‘Another Good Man’ being the culprits – but add all the above to the Billy Idol meets AC/DC strut of ‘The Goddess’ and the hugely atmospheric epic ‘Strike Me Blind’, then a great time should be had by all who opt to pick this baby up. (DR)

Jack Blades

‘Jack Blades’

(Frontiers)

A solo album from the ex Rubicon/Night Ranger/Damn Yankees bassist finds Blades in a predictably melodic mood, although the tracks tend to be more in tune with a Beatles meets Shaw/Blades vibe than the heavier, power laden hard rock of the more preferred option that is Night Ranger and Damn Yankees!

Having said that, ‘Sea Of Emotions’ is reminiscent of late 80s Night Ranger, complete with a catchy chorus, whereas ‘We Are The Ones’ features a superb groove and plentiful thrashing of guitars.

Indeed, the quality of the guitar-playing can’t be faulted. Not when the guests are listed as Neal Schon, Tommy Shaw, Damon Johnson, Warren De Martini, Jeff Watson and Brad Gillis. Drums, incidentally, are courtesy of Kelly Keagy and Michael Cartellone, with keyboards from Michael Lardie of Great White infamy.

Schon, in particular, puts in a wonderful solo on the vaguely Night Ranger-ish ‘To Touch The Sky’. And ‘Alone Tonight’ is such a quality ballad, this would’ve been a sure-fire hit in the hands of Night Ranger or Damn Yankees.

On a poppier note, ‘Sometimes You Gotta Have A Faith’ adds a little modern feel to proceedings. ‘Shine On’ wants to be The Beatles but, at best, sounds like Enuff Z’Nuff.

Good stuff, but I would’ve liked to have heard more of a melodic crunch. (DR)

Avion

‘Avion’

(Console/Image)

The break-up of Avion frontman Steve Bertrand’s band the Tories was deeply mourned by me at the time, but if I’d known that it would lead to the creation of one of the best albums of 2004 I would have been positively encouraging it.

Avion is a tight band, but make no mistake, Bertrand is the brainchild and chief of the operation, having worked tirelessly over the past two years to write new material and develop a vision for his songs. And put simply, 'Avion' is an incredible opus of shamelessly commercial rock and pop, which builds on the solid foundations left by the excellent Tories farewell album 'Upside of Down'.

There’s not a dud track in sight – quite something in an age where the emphasis is on quantity rather than quality – and even though piano-based ballad 'Seven Days Without You' was selected as first single, any one of nine other songs could have been chosen to lead an assault on the masses. Yes, 'Avion' is THAT good.

The contemporary sounding pop-rock of 'Beautiful' and 'Loved' are so infectious they should come with a health warning; 'Starting Over' is a classy, more measured and impressively apt song about rebirth and reinvention; 'The Best Is Yet To Come' (on which Rami Jaffee guests) is pure pop heaven and 'When I Breathe' screams out to be the next single. And when Avion crank up the volume on 'Bulletproof Glow', 'Trinidad and a DC-10' and 'Perfect From Now On', things somehow get even better.

It’s only March, yet I’ll be surprised if a pop-rock album surfaces this year to top 'Avion'. (You know one will, Andrew! - DR) With enthusiastic support from Image Entertainment, it seems Bertrand has the right vehicle to for success, and after a near miss with the Tories, Bertrand will thoroughly deserve it if this album becomes the smash hit its material warrants. (AE)

Nine Days

‘Flying the Corporate Jet’

(Madding Music 2003)

Nine Days will, in the annals of time, no doubt be unfairly dismissed as mere one hit wonders. After the massive success of debut single 'Absolutely (Story of a Girl)' and album 'The Madding Crowd', the band’s follow-up, 'So Happily Unsatisfied' never saw the light of day and Nine Days slipped quietly off the radar.

Or so it seemed.

Instead, John Hampson and long-time collaborator Brian Desveaux took stock, regrouped and went back to their roots by independently recording and releasing 'Flying The Corporate Jet'.
The result - like Hampson’s recently issued solo EP - is a triumphant record that refuses to wallow in the lows of Nine Day’s recent history, and concentrates instead on creating a more mature variation on the band’s modern rock sound.

There’s no blindingly obvious hit single waiting to happen here, but tunes like '29 Year Old Girls' and 'Wonderful' amongst others, retain the duo’s remarkable sense of melody and the kind of explosive hooks that could easily make a commercial impact.

Hampson’s compositions generally display a greater level of quality than Desveaux’s, and the contemporary flavoured rocker 'Something Has Gone Wrong' is no exception to that rule, but the excellent 'Reality TV', which takes a wry look at what passes for entertainment these days, shows Desveaux at his best and reveals the only reference to Nine Day’s history with former label Sony: "So it was fun/We had this great little song/It went to number one/And then tomorrow…gone/And all we could see when we came up for air/Was just a label full of monkeys trying to spike our hair".

The rock/country/rap hybrid that is '17 and 33' may not be to everybody’s tastes, least of all label execs at Sony smarting from the broadside in 'Reality TV', but the evidence of their folly in dropping the band can be seen in the album’s two mid-paced high points, 'Devil You Know' and the delicate, hairs-on-your-neck ballad, 'The Moment'. Pure class.

One hit wonders? Not a bit of it. One hit wonders are those who briefly play the corporate game and are never heard from again, but talent like Hampson’s and Desveaux’s is truly too good to be stifled. (AE)


Crossfade

‘Crossfade’

(Columbia/Earshot)

With a sound incorporating bands as diverse as Metallica, Incubus, P.O.D. and even Nickelback, South Carolina’s Crossfade are an intriguing outfit. Blending, powerful, crunching nu-metal riffs with surprisingly melodic interludes, the band may not possess an original sound, but it’s easy to see the crossover potential of the band’s debut self-titled album.

First single, 'Cold', is formulaic enough to warrant an assault on the charts, with vocalist Ed Sloan sounding uncannily like Nickeback’s Chad Kroger. Opener 'Starless' is better and perhaps more representative of Crossfade’s sound, showcased impressively on the intense, anthemic 'So Far Away'. The P.O.D. influence comes across most prominently on 'No Giving Up', while 'Dead Skin' is a more laid back, restrained track, which emphasises Crossfade’s dark, brooding lyrical themes.

Standout track, though, has to be 'The Unknown', an epic, carefully-crafted offering which again shows another side to the band’s sound.

As a result of the differing styles on 'Crossfade', it could be argued that the band is still to find its own true voice, yet the diversity of the album means that there is something here for all modern rock enthusiasts, even if they may have heard it all before. (AE)


Josh Todd

‘You Made Me’

(Todd Entertainment/XSRecords/Navarre Corporation)

When 'Kerrang!' gave Buckcherry’s excellent, self-titled debut album (of 1999 vintage) a glowing five-K review, it seemed it was only just the start of things to come for the no-frills LA rockers, fronted by Josh Todd. Yet within two years, the party was over for the band, and as such, 'You Made Me' is Todd’s first return to the music scene since a brief, ill-fated collaboration with former Guns n’ Roses members Slash and Duff McKagan.

The album shares Buckcherry’s, explosive, in-your-face rock sound but has a more contemporary edge, with spiky first single 'Shine' perfectly demonstrating the raw, full-on approach adopted by Todd, his band of mainly unknown musicians and producer Chris Johnson (Evanescence, Masters Of Reality). It’s a relatively uncommon sound in today’s modern rock scene and as such, tracks like the breathless opener 'Mind Infection', the bruising 'Straight Jacket' and the blistering 'Broken' provide a welcome alternative for anyone bored with the surfeit of soundalike, formulaic modern rock bands currently clogging up the playlists.

Todd is one of the few true rock stars around right now, with an attitude almost as big as his voice, and it’s to be hoped that 'You Made Me' can carry on where Buckcherry’s debut left off. (AE)

'Auf der Maur’

(EMI)

If ever an album sleeve encapsulated the sound of an album it’s this. Whilst Courtney Love has chosen a caricature and the irony of  ‘America’s Sweetheart’ to herald her return, her former Hole bandmate Melissa Auf der Maur has (at least for the European release - DR) opted for a more direct approach. Melissa stands in full rock pose, silhouetted, looking every inch the rock god(dess), with Auf der Maur proudly emblazoned across the sleeve.

Sure, the creative process may well have been aided by some of her very influential friends (Josh Homme, James Iha, Brant Bjork to name three) but make no mistake, this is Melissa’s album and she takes full advantage of the opportunity to bring this labour of love to fruition, and to step to the front of the band.

What’s on offer here is a far more focused, cohesive and…dare I say it…melodic collection of songs than her past might give leave to expect. Less ‘riot’ and more girl, as opposed to grrrl! The closest she gets to Courtney is the opening banshee wail of second song and first single ‘Followed The Waves’, but even this soon morphs into some gorgeous harmonies before guitars come crashing in to give pretty much the only hint on the album of her stint in the Smashing Pumpkins. Oh yeah, and it ends with the sort of powerchords that the electric guitar was designed for. Feel your walls shake! Immense!

Elsewhere ‘Real A Lie’ picks up the pace and has one of the most infectious choruses on the album, though it has close competition from ‘Taste You’. ‘Beast of Honor’ gives a partial nod in the direction of Courtney but once more Melissa raises the quality with another trademark chorus. Indeed, the quality of songs and the sound on offer here is quite breathtaking.

So while the bitch may be back, so is Melissa! No question which one will be grabbing the headlines, but then no question about which one has brought the best set of songs to the table either. On the basis of this record Melissa Auf der Maur more than deserves her 15 minutes of fame and quite possibly much more. (CW)

Supercell

'Generation of the Numb'

(Retrospect) 

Having heard Supercell’s previous demo 'Five Degrees Left of Normal' and proclaimed them to be one of the best unsigned rock bands in America, I have been eagerly expecting new material from them, and 'Generation of the Numb' has not altered my opinion about the band’s immense talent.

Somewhat disappointingly, 'Generation of the Numb' features only three new tracks, plus the excellent trio 'Flying', 'Walk Away' and 'Brand New Day' from 'Five Degrees Less Than Norma'. But thankfully, Supercell obviously believe in the maxim of "all killer, no filler", such is the quality of the new material.

Opener 'Andy Warhol' bursts out of the blocks with a more powerful edge than on the band’s earlier songs, and the fantastic title track is one of the best modern rock anthems I’ve heard this year, proving once more Supercell’s ability to pen great songs. 'Shine', the final new offering, is another infectious rocker that should have the major label talent scouts salivating.

They’ve shared the stage with Bowling For Soup, Sheryl Crow, Something Corporate and Dishwalla, now surely the time has come for Supercell to make the step up to the big time themselves.

'Generation of the Numb' could well be the final push label execs need. (AE)

Sophia

‘People Are Like Seasons’

(City Slang)

My name is Chris, and I’m a music snob! There, I’ve said it. Easy! Actually, that’s not strictly true. I’ve come to learn that as much as you think you know about music, it’s easy for something to pass you by while one of life’s other distractions (Span's 'Mass Distraction', Chris? - DR) grabs your attention. Sophia passed me by until now.

Now on their Third studio album Sophia is the current vehicle for the songs of former God Machine frontman/guitar player Robin Proper-Sheppard. Sonically however Sophia are in total contrast to the dark intensity of his former band. Only on ‘Darkness’ or at the climax of the string accompanied ‘Desert Song No.2’ is their any sign of the apocalyptic white noise of the God Machine and even here it is more controlled and focused within the song itself. Lyrically there remains some similarity, "Sometimes you gotta let go. The world’s not a bad place, just watch what you show".

For the most part however ‘People Are Like Seasons’ is a collection of beautiful, mellow acoustic based songs. Neil Young (who I don’t like - go figure!) comes to mind a few times, such as on opening track ‘Oh My Love’ and ‘Swept Back’, as do the mellower moments of ex Suede man Bernard Butler, particularly on ‘Swore To Myself’ and ‘I Left You’. It’s the simplicity of songs like ‘Holidays Are Nice’ that is just so appealing, "Holidays are nice, holidays are fun, holidays are wonderful…"

I took a chance on ‘People Are Like Seasons’, bought it on a whim without having heard a note and was blown away by the simplistic beauty of it. If you crave something different it may do the same for you. (CW)

The Rasmus

‘Dead Letters’

(Island)

If Mike Tramp went ‘Nu-Breed’ this is what it might sound like! The Rasmus are from Finland and this, their sixth album, has been troubling charts in Scandinavia/Europe for much of 2003. With a UK release of the album and European hit single ‘In The Shadows’ imminent, their global assault looks set to continue.

‘In The Shadows’ itself is a glorious pop/rock song in the Invertigo mould, but truth is, from the opening of lead track ‘First day of My Life’, there are some clear, classic rock/AOR influences lurking here. ‘Guilty’ is an uptempo almost ‘AOR by numbers’ rocker, with its verse, bridge, and tell tale "woah oh" chorus. All that’s missing is the key change! I defy you to not sing along though! It’s a similar story with ‘In My Life’.

Then there’s the ballad, ‘Not Like The Other Girls’, with it’s Journey-ish intro and harmonised lead guitars solo. Or ‘Back In The Picture’, where The Rasmus pick up the pace again, blurring the line between rock and pop in much the same way as Thin Lizzy did back in the late 70’s. And it’s this that could well turn out to be their strength and the key to their success.

At times, singer Laun’s voice is spookily similar to Mike Tramp. Maybe it’s just in the accent. Whatever, it’s a voice that gives the music that commercial edge and all-important crossover appeal.

If classic AOR was a Bacardi and Coke, The Rasmus would be the twist of lemon to liven it up and give it a new zing! Coming soon to a radio/TV/venue near you. Best not to fight it! (CW)

‘Mass Distraction’

(Island)

Ladeez n’ gentlemen, take your places on the funk-o-metal carpet, because the ride is about to start again! However, this time the take off point is Norway, rather than Sweden.

To be fair, there is much more to Span than a similarity to the Electric Boys, but there are enough traded vocals and fat, funky riffs from guitar player Joff to call to mind Conny Blomqvists band. Nowhere more so than on the band’s previous single ‘Papa’, which owes more than a little to ‘All Lips n’ Hips’. When the band rock out however, as they do on current single ‘Don’t Think The Way They Do’ or ‘Stay As You Are’, they do so in fine Aerosmith-sonian style. The rhythm section of Fredrik Wallumrod and (the now replaced) Wes Stavnes power these songs along at a frenetic pace (drummer Fredrik is also impressive throughout), but then ‘Peaceful’ and ‘Missing In Stereo’ add the light to the shade and the band’s credentials as potential stadium rock giants are complete.

However, the band’s ace in the hole is unarguably vocalist Jarle Bernhoft. The guy is a star in the making. A frontman with the style, swagger and (shock! horror!) voice to set Span apart from many of their contemporaries.

Produced by Gil Norton and mixed by the man with the magic touch Kevin Shirley, ‘Mass Distraction’ is a cocky and confident debut from a band with the clear ability to bring arena rock back to a new (Nu?) generation.

Initial copies come with a bonus disc of previously unreleased songs and alternate mixes of album tracks. (CW)

Kill Hannah

'For Never and Ever'

(Atlantic)

It would be wrong to describe Chicago band Kill Hannah’s music as original – there’s more than a whiff of Garbage, Placebo and Smashing Pumpkins in the mix – but they are certainly a very, very exciting new band, with such potential that Billy Corgan has labelled them "the future of Chicago rock".

It’s not just hollow hype, either. Singer Mat Devine has a curiously androgynous look and voice, but the band match their mysterious, edgy appearance with a hugely impressive major label debut of spiky, aggressive, yet infectiously melodic rock.

Produced by Sean Beavan (Nine Inch Nails, Marilyn Manson), tunes like ‘They Can’t Save Us Now’ and ‘Ten More Minutes With You’ have a distinctly industrial edge, but this is superseded by a succession of killer melodies and hooks which draw you in and simply refuse to let go.

‘New Heart For Christmas’ transmits an age-old theme of heartbreak in a refreshingly modern and anthemic way, while ‘Boys And Girls’ is a song that could prove to be a massive hit, so effortlessly does it segue a Duran Duran-style chorus with some wild and wonderful guitar licks to form the perfect contemporary pop song. It’s not all razor-edged guitars, though. ’Race The Dream’ shifts between a sassy, electro-pop verse and an intense, hard-hitting chorus with ease and the bleak atmosphere of closing track ‘No-one Dreams Anyway’ is a song for a dysfunctional generation.

Devine dedicates ‘Unwanted’ to "the boys who don’t belong," but after one listen to ‘For Never and Ever’, it’s abundantly clear that Kill Hannah fit right in to today’s modern rock landscape. (AE)

Alexandra Slate

’Edge Of The Girl’

(Hollywood Records)

With the likes of Stacie Orrico and Avril Lavigne already on the scene, you would have thought that the last thing the music industry needs right now is another good-looking, angst-ridden songstress.

You might think that, but Canadian Alexandra Slate is a different beast altogether. Yes, on the surface it seems her debut album ‘Edge of the Girl’ has been moulded for the audience that lapped up Lavigne so readily, but Slate’s entirely self-penned songs have more depth, more interesting things to say and are not as formulaic or blatantly commercial as some of Lavigne’s output.

With the assistance of Rob Cavallo behind the production desk, Slate’s music is given a more rock then pop sound, and material like ‘Bad Girl’ and ‘I Apologize’ are almost confessional in their stark honesty of a troubled childhood. ‘Can’t Hold The World’ is the most upbeat, raucous tune here, and ‘Blinding The Universe’ recalls an early experience with rejection and disappointment.

‘Edge of the Girl’ is a pleasant surprise; an introspective album which develops with every listen and is imbued with a refreshing honesty and songs which defy Slate’s 22 years. (AE)

The Rising

'Future Unknown'

(Maverick)

There have been a number of excellent modern rock bands in the past couple of years that released excellent records that were virtually ignored by the public. I just hope The Rising don’t share the same ignominious fate as July For Kings and Dakona as the ‘Future Unknown’ is a record that deserves attention.

Opening track and first radio single, ‘Cradle’, emphasises the epic melodies that are a trademark of The Rising’s sound, as well as the soaring voice of Aussie vocalist/songwriter Michael Lee. ‘So Alive’ showcases a soulful edge to the band’s style while rousing rocker ‘Coming Down’ is a U2-esque anthem, which contrasts with the delicate stylings of ‘Redemption’.

No doubt fans of the likes of Lifehouse, Creed and 3 Doors Down will find something to like on ‘Future Unknown’ especially ‘These Days’, a song which checks most of the requirements of the modern rock radio smash hit.

But The Rising’s songs are not modern rock by numbers. The band’s sound is not as hard-hitting as other bands in the genre, but it’s no less forceful as the brilliantly evocative standout title track and powerful closing track ‘Yesterdays’ prove.

Lee came to the US from Australia to fulfil his musical vision and the 11 excellent songs on ‘Future Unknown’ are testament to his dedication and talent. I just hope that the record-buying public recognises that too. (AE)

Fuel

'Natural Selection'

(Sony)

Fuel provide the perfect bridge between the commercial leanings of most modern rock acts and the bruising intensity of old school metal bands. As a result, the band’s third album ‘Natural Selection’ makes for an interesting listen.

The Pennsylvania quartet hit the big time in 1998 with debut album ‘Sunburn’ and the band’s music has stayed relatively consistent since then. The band alternate between radio-friendly rock like first single ‘Falls On Me’ and the darker, more aggressive sounding tracks like opener ‘Quarter’.

Some might say that Fuel’s blatantly commercial songs contrast too vividly with the heavier material, while others would say it gives fans the best of both worlds. The disparity of styles can be seen once again with dirge-like tracks such as ‘These Things’ and the almost pop-rock of ‘Most of All’, which sound like they come from two different bands.

But in today’s modern rock climate where bands like Nickelback and Puddle of Mudd have adopted similar strategies, Fuel’s tactics seem dead-on. The radio singles keep the corporate suits happy while fans of bruising tracks like ‘Getting Thru?’ are catered for as well.

Certainly, the fact that Fuel still sell records and have a deal in an era of cutbacks and artist purges at major labels, shows they must be doing something right, even if what they are doing seems a little too obvious. (AE)

Vertical Horizon

'Go'

(RCA Records)

It’s taken Vertical Horizon quite some time to finally get 'Go' released after RCA delayed and delayed its release, but the wait has certainly been worth it. Brimming with melodic, radio-friendly modern rock, the album may be too slick for some tastes, but there’s no doubt the band’s sophomore major-label effort shows a solid continuation of the material on the million-selling 'Everything You Want' from 1999.

This time around, Vertical Horizon turned to John Shanks to twiddle the knobs in the studio, but there’s no massive stylistic or sonic shift from their debut in evidence. If anything, songs like 'Sunshine' and 'One Of You' are slightly heavier than anything in the band’s back catalogue, but punchy opener 'When You Cry' is typical VH, as Matt Scannell’s trademark vocals soar among an irresistible melody and clean riff.

'I’m Still Here' is more of the same, but with an even bigger chorus and 'Forever' is a heartfelt mid-paced tune that screams out for radio play, while the epic, string-infused 'Inside' and beautiful ballad 'Goodbye Again' are the pick of the slower songs.

There are a couple of fillers, but overall, if highly polished, commercially-orientated contemporary rock is your thing, then you should definitely make a stop at 'Go'. (AE)

40ft. Ringo

'Inside Your Head' EP

(Atenzia)

New Jersey-based punk-pop rockers 40ft. Ringo have enjoyed a rather good year. Their debut album 'Funny Thing' was one of the highlights of Atenzia’s release roster amongst some very stiff competition, and the band secured a number of prestigious support slots for the likes of David Lee Roth.

'Inside Your Head EP' is a collection of previously unreleased tunes that never made the cut for the album together with the title track single, and it doesn’t disappoint. The Atomic Pop remix of 'Inside Your Head' makes an already-infectious tune even more so, while the likes of 'Shakedown' and 'Sober' are good enough to be album tracks or even singles themselves, such is the quality of vocalist/guitarist Steve Brown’s songwriting.

The guys will no doubt be feverishly working on new material in 2004, but in the meantime, this EP serves as a tasty appetiser to a full-length album towards the end of the year. (AE)

Wilshire

'New Universe'

(Sony Music)

Wilshire are a husband and wife duo who first came to my attention on the self-produced and independently released 'Second Story' in 2000, a contemporary pop album so good, I was amazed a major hadn’t already signed them.

Fast forward a little over three years, and after Wilshire moved from Nashville to Los Angeles, the pair’s hard work deservedly paid off as they cut a deal with Sony, and the excellent 'New Universe' - impressively produced by David Tickle - is the result.

Wilshire’s music may be broadly defined as commercial pop-rock, but the key to 'New Universe' lies in its diversity. Outstanding opener and first single 'Special' has the modern pop edge of Dido coupled with the upbeat melodic sensibilities of Sheryl Crow, and really lets Lori’s belting vocals shine. 'Tonight' is a delicate, beautifully arranged ballad, 'Turn It Around' shifts effortlessly between atmospheric acoustic verses to a storming chorus line, and 'I Know What You Did' is a sassy, groove-laden funky pop-rocker that oozes sensuality.

The chemistry and unique vocal dynamic between Lori and Micah is clearly in evidence throughout the album, especially so on 'In Your Arms', a ballad that on one level tells of the deep love between Micah and Lori, and on the piano based 'Fool For You' which also shares the Wilshire trademark of creating intelligent, unorthodox pop arrangements and marrying them to irresistible melodies.

Some might say that Wilshire were in the right place at the right time to secure a deal, but in reality, luck had nothing to do with it. The immense musical talent evident on 'New Universe' is the real factor and has laid the foundations for one of the most exciting pop duos in recent years to enter an industry crying out for an intelligent alternative to manufactured, airbrushed pop. (AE)