Archive for the Album Review Category

Review: Overoth – Kingdom of Shadows

Posted in Album Review, IRISH NOISE!, Music with tags , , , , on April 12, 2013 by Tickets There

550350592-1Overoth have been kind enough to re-release their debut album, Kingdom of Shadows and being black hearted megalomaniacs, we felt TT should have a say. If you’ve seen Overoth at any time over the past two years since Kingdom of Shadow’s release, you’ll know they are a powerful force to be reckoned with. Lead singer, Andy Ennis cuts an imposing figure on stage and commands a dominant presence; supported by an intensely dense, doom/death metal bellowing backline(I know what backline means, but it suited the moment).

Kingdom of Shadows’ and ‘I Am One, I Am All’ crack the lid on a treasure trove of isolated darkness, carnage and aggression. The title track is fast paced, classic death metal while I Am One, I Am All injects the band’s heavier, doom, sound made stronger by Andy’s reverbing growls. ‘Summon the Cursed’ is flanked by thick echoing riffs that sway with the song before bursts of extremity explode out of nowhere. `The Serpent of Old’ and ‘Led to the Slaughter’ are two of the strongest pieces on the album. Face slapping metal in its finest form. At times the impact is a little muddled, but raw with power and both songs show the ability this band has and boasts potential for their next record.

BGUU97qCMAECQCNPathway to Demise’ and ‘Obsidian Blade’ continue to reinforce the bands power, but offer little in the way of real originality. They pale even further when the show stealing, ‘Upon The Alar’ awakens. A heaving brute of a tune that perfectly captures each band member falling into place, allowing them to deliver the song they’ve hinted at throughout the record. Haunting guitars, sparse echoes and militaristic force. ‘The Forbidden Realm’ builds on the revamped interest Upon The Altar gives in dramatic fashion. While not as forceful, it’s complexity, speed and focus drive the song and the album home.

Kingdom of Shadows may not have the most life changing songs in its ranks, but it does an excellent job at relaying the bands live sound and brute strength. At the same time it manages to drop a few regulars into your playlist and build anticipation for Overoth’s next release. If Kingdom of Shadows is anything to go by, Overoth will be a death metal household name in no time.

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Review: Adler – Back From The Dead

Posted in Album Review, Music with tags , , , , , , , , , , , , , on February 18, 2013 by Tickets There

adlerbackdeadWe promised you’d hear more about these guys and it’s time to deliver. Since we last checked in on them, Adler have gone and released this perfectly excellent debut album – how dare they?. For those of you who aren’t up to speed (like us insanely super sexy glam rock fanatics), Adler is made up of former Guns N’ Roses/Adler’s Appetite sticksman, Steven Adler, Jacob Bunton (x- Mars Electric – lead vocals), Lonny Paul (x- Lynam guitar/vocals) and Johnny Martin (Bass/vocals). Anyone with any pre-notions about this album should get ready to leave them at the door.

Back From The Dead is one of the best glam rock records we’ve heard in years. Steven hasn’t tried to steer the band towards Appetite for Destruction Island in search of some remaining buried treasure they can capitalize on. Instead, Jackob Bunton and Lonny Paul have written a very impressive collection of punchy hits that deliver the perfect mix of heaviness, attitude, punk rock and hair sprayed appeal. There’s scarcely a moment to breathe on Back from the Dead as you’re pounded with one guitar driven assault after another.

ADlerGroupOpening with the title track, you’re immediately cast into seedy California as the song attempts to convey a message Steven wants to make very clear – he is back. ‘Own Worst Enemy’ and ‘Another Version of the Truth’ continue with the ass kicking style. The album’s first single, ‘The One That You Hated’ still sounds as fresh and exhilarating as it did last year and all fears are gone when it isn’t the only stand out moment on this release. Former Marilyn Manson / current Rob Zombie guitarist John 5 adds his unique touch on ‘Good to be Bad’ (and someone adds an excellent ‘should have been Axl’ backing to the chorus). While former Guns N’ Roses guitarist Slash lends a hand on ‘Just Don’t Ask’ (we’re assuming the wonderful Spanish guitar intro and of course his signature style solo).

‘Blown Away’ brings us well into the second half with another ballsy hard rock anthem before Adler attempt ballad territory with ‘Waterfall’. I’ll leave you to make your own minds up on that one, it will not be mentioned again here. ‘Habit’ sends us rocketing back on course followed swiftly by another ballad attempt, ‘Your Diamonds’ which is a drastic improvement on the previously mentioned effort. Finally we come to ‘Dead Wrong’, an all out warrior of wall shaking bass lines and ravenous guitar riffs and solos. An excellent closer for Back from the Dead, so good in fact you’ll just want to start all over again.

Whatever about the last twenty off years of Steven’s life, there’s no denying he has something real to hold onto here. Adler could probably have chosen another name if they wanted to be completely removed from their most famous member’s previous associations, but the name be damned. There are almost no traces of GN’R on this record. Instead you have a new band with experience behind them and an albums worth of absolute mind blowers for you. Go to Spotify, find it, listen and enjoy.

Review: Crashdïet – The Savage Playground

Posted in Album Review, Music on February 18, 2013 by Tickets There

The-Savage-PlaygroundSleaze/glam metal is enjoying a well-deserved comeback in Europe with the likes of Hardcore Superstar, Reckless Love, H.E.A.T. and many more all pushing to re-create an eighties bad boy ballad paradise. One such band is grime, booze ‘n’ blood kings, Crashdïet.

Hailing from Sweden, Crashdïet have been a name to contend with since the release of their debut album, Rest In Sleaze in 2005. Their 2010 album, Generation Wild, propelled them to the world and the buzz has been growing ever since. Getting banned from MTV and touring with Ozzy Osbourne didn’t hurt much either. Now they’ve released their fourth studio album, The Savage Playground and they’re ready to take off where they left things last year – on a high! Going into this`, Crashdïet must have known there was a lot to live up to. Generation Wild is a tough record to beat but Tickets There thinks they’ve done it, or come damn close.

‘Change the World’ is a brutal slice of rock, opening the record with thundering power that’ll have you thrashing about in no time. After that the band drowns you in more radio friendly anthems such as ‘Cocaine Cowboys’, ‘Anarchy’ and ‘California’. After a few of these offerings, any discernible rock fan is left with a ‘where’s the oomph?’ feeling (and rightly so), but Crashdïet have to make their money as well and there’s still a long way to go.

crashdiet2012-IMG_6520-as-Smart-Object-1-copy‘Circus’, ‘Sin City’ and ‘Snakes in Paradise’ bounce a little attitude back into the album with forceful guitars, drums and excess fuelled excitement. The end of the album continues to push some of their darker / melodic outputs. ‘Damaged Kid’ is a notch in the bands belt and stands out as one of the catchiest, yet still bad ass tunes on the album. ‘Excited’ is another choice cut before the grandiose ‘Garden of Babylon’ comes tumbling down with the air of a song that’s destined for clichéd tackiness. Fortunately, destiny will just have to wait as GOB turns out to be a pretty terrific piece of work with Middle Eastern guitars, snarling vocals, shredding solos and a great package of music. Bonus track – ‘Liquid Jesus’ is a great blues glam rock finisher that sends you out in party mood.

There are moments on this album where things wane and you’ll find your attention span running out, but it’s saved by some absolute Classic kick around anthems and growth in the band’s overall sound. A few less tracks may have placed this in first place for their own discography, but for those of you who think their glass is half full, here are 14 new Crashdïet songs to enjoy.

The Savage Playground is available now.

Review: KISS – Monster (Album Review)

Posted in Album Review, INTO-NOISE!, Music with tags , , , , , , , , , , , , , , , , , , on October 8, 2012 by Tickets There

The kings of the night time world are back with screaming glory ‘n’ a vengeance! MONSTER is the twentieth studio album by iconic rockers KISS and it looks like 19 previous records, countless live shows and 39 years in the business haven’t slowed down the guys one bit. Monster is one of the biggest releases in the band’s history and it comes hot on the tails of their 2009 record, Sonic Boom (at that time, their first album in ten years) which saw the band achieve the highest US chart success of their entire career. Now the task falls on Monster to satisfy the mighty KISS army, continue their never ending – steamrolling success, fuel the ship on their second and sold out KISS KRUISE and most importantly of all, add a few more hits to the indestructible KISS KATALOGUE (yes, everything KISS related must, when possible, begin with a K).

Monster delivers everything the band promised and more. No ballads, no outside song writers and a welcome return to the band’s classic seventies sound. Harder guitars, re-introduction of groove and balls to the wall rock ‘n’ roll. Opening track ‘Hell Or Hallelujah’ screams back to the days of Love Gun and Rock N Roll Over. Shredding guitars left right and centre, a pounding riff and Paul ‘Starchild’ Stanley standing firm at the forefront delivering the best song KISS have written in years. Fortunately, it’s not alone. ‘Take Me Down Below’, ‘Last Chance’ and ‘Freak’ are all stand out tracks, vocally endorsed by Mr. Stanley, each one making a case to outshine the others.

As with Sonic Boom, Gene’s tracks take a few more listens to really get to grips with. The demon seems to be on a quest for a pounding, thunder some anthem that correctly represents his larger than life character with all the dark coattails and demonic tendencies attributed to such a legend– with the obligatory sing along catchiness we all want from KISS of course. After three days of listening, we can happily agree ‘Back To The Stoneage’, ‘The Devil Is Me’ and ‘Wall of Sound’ achieve everything you’d want from a classic Gene track. However his work with Paul on ‘Take Me Down Below’ stands out as one of the true Monster gems.

Not forgetting Tommy Thayer or Eric Singer, both deliver the goods across the board on Monster. Once again they both get a shot at the spotlight handling vocals on ‘Outta This World’ and ‘All For the Love of Rock ‘N’ Roll’ respectively.  Two feel good, sing along KISS tracks that fill their space nicely (of course, this writer is tipping his hat to Outta This World more so).

Well, Monster is everything you’d thought it would be. A solid KISS album with its fair share of tunes you’d happily invite into future live sets. The whole band put in a great performance and it’s a true credit to them, especially after so many years in the business. 37 years ago they preached about rocking and rolling every day and every night and unlike most of their contemporaries, they’re still doing it to the letter. Rock on KISS!

House of Dolls – Welcome to the Department of Nuclear Medicine (Album Review)

Posted in Album Review, IRISH NOISE!, Music with tags , , , , on June 7, 2012 by Tickets There

Earlier this year, House of Dolls asked their fans to help them make a record through a :fund:it campaign. Showing the DIY spirit is alive and well (with a little help from investors – Ed.) the band have finally completed and released their debut album, ‘Welcome To The Department of Nuclear Medicine’. Twelve songs that delve into the band’s defining melancholic, alt-rock core and further explores that infectious psychedelic sound first heard on ‘Gimmie Some Glory’ and ‘Before She Wakes’.

Opening with the full throttle ‘I Thought You Were My Friend’ and ‘Murder Machine’, the record refuses to pull it’s punches and sets you up for the ambient and wonderful ‘Photograph’ (sadly not a cover of the Def Leppard classic….next time – Ed.), ‘Prostitutes’ ups the tempo with its chunky guitars and vintage punk influence before the stellar ‘Into The Void’ shines through. Set on a basic bass line, Into the Void is wrapped it in both vastness and heavy, spiralling, soring leads and bewitching vocals. An excellent song if ever there was one.

Despite sticking closely to their formula sound, the band are able to diverse themselves into several different forms of attack. On heavier / rocking numbers such as ‘Light Starts to Fade’, No Excuses’, ‘Ills’ and ‘American Dream’ House of Dolls put both feet forward, pounding you with guitars and solid vocals while the more radio friendly numbers like ‘Lovers & Clowns’, ‘Photograph’, ‘Into The Void’, and ‘All I Need’ maintain the same gritty overtone, but stay neatly wrapped in a polished, well thought out collision of instrumental leads and un-intruding vocals.

An excellent album from start to finish and one well worth buying if you’re looking for some new blood on the scene.

The Walls – Stop The Lights (Album Review)

Posted in Album Review, IRISH NOISE!, Music with tags , , , , , , , , , on March 7, 2012 by Tickets There

If there’s one thing The Walls can never be accused of, it’s rushing things. It’s been a seven long years since the release of their last album, ‘New Dawn Breaking’, but the brothers haven’t been hanging on their laurels. They’ve toured, both as the Walls and The Stunning, released singles, an EP; all the while working away on their third release. It’s been a long time coming and no easy feat to accomplish, but finally ‘Stop The Lights’ is ready.

People who’ve seen the band live over the past two years will be very familiar with some of the material on Stop The Lights, but it still manages to sound as fresh and enticing on record as it did on stage. ‘Bird In A Cage’ opens the album with it’s wonderful gentle rhetoric and infectious poppy groove. Advance singles ‘Phantom Power’, ‘Carrying the Fire’ and ‘Stop The Lights’ sound reinvigorated and inviting; but the real focus for Tickets is on the more unheard material.

The Great Escape’ and ‘It Goes Without Saying’ are excellent pieces of music. ‘The Great Escape’ is stripped back, lasting and lonely, while ‘It Goes Without Saying’ delivers one of those catchy as a cold choruses the Walls have built their reputation on.  ‘Dead Flowers’ delivers a little rumpus into the room with heavier guitars and keyboards. Not quite ‘Drowning Pool’ but everything you could want. ‘All A Blur’ and ‘Doodlesque’ continue the positive flow before the album reaches its peak with ‘Thanks For The Photographs’ and ‘May The Road Rise’, which are both crowning achievements of the album. Equally they express the passion, honesty and incredible grasp the Wall brothers have for song writing.

Stop The Lights is out officially released on Friday, March 9th from retailers and online stores. It gets its release party in Whelan’s on March 29th before the lads hit the road for shows in Limerick and Galway. Stand by for more dates over the coming weeks.

Review: Noel Gallagher’s High Flying Birds – High Flying Birds

Posted in Album Review, INTO-NOISE!, Music with tags , , , , , , , , , , on October 21, 2011 by Tickets There

Reviewer: Brian Mc Caul
Two years have passed since one of Britain’s biggest rock band of the last 30 years imploded in a flurry of flying plums and guitars. Oasis meant a lot of things to a lot of people, but most will admit the quality of albums after those first 2 dipped dramatically. Almost all those classic songs and B-sides were written by guitarist Noel Gallagher before Oasis had a record deal. Songs about youth, good times and escape that connected to the masses through huge choruses, loud guitars and legendary gigs. Liam immediately went on to form Beady Eye with the other members of Oasis while Noel stayed out of the limelight, having nothing more to say on Oasis. This summer Noel announced details of 2 solo albums to be released under his new moniker, “Noel Gallagher’s High Flying Birds”. In 2012 a ‘far out’ collaboration with Amorphous Androgynous will appear, but for now we have the debut album.

What Noel has delivered is 10 tracks of catchy, melodic pop rock. It’s not exactly a radical departure from Oasis. The noisy guitars are gone and Liam’s inimitable vocals too. But this is Noel’s most sing-along album since Morning Glory The addition of banjo, musical saw, female vocals and ‘wine glasses’ show signs of experimentation. Two tracks have actually been online in various formats for a few years. The wonderful “(I Wanna Live In A Dream In My) Record Machine”, with soaring strings, a gospel choir and a guitar solo all merging together. “Stop The Clocks” closes the album with delicate acoustic strumming, before twice breaking into guitars, feedback and noise. It works brilliantly.

The singles ‘The Death Of You And Me’ and ‘AKA…What A life’ have received mixed reactions. ‘The Death Of You And Me’ is uncomfortably similar to Oasis’ ‘The Importance Of Being Idle’, but when the brass section kicks in you have to smile. ‘AKA…What A life’ is the most adventurous song on the album, with a thumping house beat, keyboards, mellotron and bursts of guitar. Noel has released his first dance track and it works fantastically. While  ‘If I Had A Gun’ and ‘Everybody’s On The Run’ are beautiful tracks. They feature a full blown orchestra and choir and it appears Noel is no longer afraid to write loved up lyrics. The chorus line of “Excuse me if I spoke to soon, my eyes have always followed you around the room” is simple but affecting.

Everyone is aware of Noels ‘magpie’ gift for stealing melodies and ideas from past legendary bands and now it’s the turn of The Kinks. The jaunty ‘Soldier Boys and Jesus Freaks’ and ‘Dream On’ bounce along aided by some lovely trumpet. This is a more polished gentle affair than Beady Eye’s debut, with much more melody. ‘The Chief’ rings in the second stage of his career with a great album. If he can bring some of the wit and cleverness he shows in his interviews to his classic song writing, there will be even better records to come. Currently outselling some X Factor robot 2-1, Noel has proven that music still needs him.