SIXX A.M. - The Heroin Diaries Soundtrack (2007)

Released on the back of his fascinating book of the same name, 'The Heroin...' sees rock god extraordinaire Nikki Sixx emerge with a sharp-shooting band with an unexpected twist. Wrapped up in a more polished and slightly Gothic sound, Sixx A.M., which is Sixx on bass, DJ Ashba on guitar and James Michael on vocals, are far removed from anything Sixx has done before. This is hip, modern, nu-metal laced at times, and dark but in an almost commercial rock way. Some would argue that James Michael's vocals are little too straight laced, but then again, Sixx has worked with a variety of stars and this time requires a voice to portray his emotions, fears and pains. This is the Sixx story on record, but does it reach the heights we expected ?

Well, at times yes. 'Van Nuys' is a dark epic of streetwise beats and crushing Gothic chorus, beautifully orchestrated, dramatic, theatrical. 'Life Is Beautiful' is an immense track, sweeping yet classic, that opening riff wouldn't be out of place on the latest Crue album, but the surprise once again comes in the vocals. James Michael certainly adds a sensitive side to the weight of sound, in fact vocally there is a lack of real identity here, but the chorus is immense, and the softness and hardness compliment one another perfectly. Ashba is a fantastic guitarist who has since joined the G 'n' R ranks, and 'Life...' is one helluva emotional track, a modern rock song for the airwaves.

'Pray For Me' is equally as cool, and it's here that James Michael excels himself. A crunching groove accompanied by his dark-laced vocal croon which builds to an immense chorus, and this continues with the superb 'Tomorrow'. Although having a strong commercial edge, the last two cuts show Sixx's ability to write on demand songs which aren't just about girls and sex. 'The Heroin Diaries...' is a deeply serious record, clearly drawn from painful experiences. However, I do have one complaint. 'Accidents Can Happen' is wistful enough to belong on a stage! And I'm not sure this is a good thing. Don't get me wrong, it's a cleverly constructed track, but again, this is where the problem lies with James Michael's delivery, a soft-rock crooner who remains hidden behind any barrage of riffage, but who soulfully floats above the more emotional strains of the tracks. 'Dead Mans Ballet' causes quite a rumble however, but the album does follow a familiar theme once James Michaels vocals interact with the subtle sound which he eases after the original blast. 'Permission' is quite 'Euphoric' as a track, lush in its arrangement and 'Courtesy Call' has a dark, Gothic edge that cuts deep. The album ends with 'Life After Death', and will probably leave most listeners compelled but not overly satisfied. But then again, I think this is a more personal album for Sixx, but despite the flaws of James Michael's delivery, there are some brilliant tracks on offer here and an album layered with emotion.

8/10

Malice - License To Kill (1987)

Straight to the point but reasonably good metal without pulling any punches. The photo's on the band may give you an idea that Malice like to shred those instruments, and pouting vocal prince James Neal has a fair set of lungs. Surprised to see Megadeth's Dave Mustaine and Dave Ellefson on a few tracks contributing backing vocals also. This is certainly late night radio metal, when the parents are in bed and the headphones are on, light a candle and be taken away by the beef of those riffs and soaring vocals.

No real thrills to speak of , this is simply solid metal that would never dare veer from its identity, although some would debate as to whether it has an identity in a field of so many other accomplished, but middle of the road rock acts. Kinda like watery Lizzy Borden, or softer Priest, with that every American haze to its sound. It doesn't pound, mainly because it's lacking any kind of attitude in its corporate guise. Quite like the album cover although maybe it's their to detract from the normality of proceedings. Like I said, it's solid rock but lacking the grease and tends to go in such a formulaic direction without effect.

Quite liking the streak of darkness in that riff to 'Christine' but I'm not sure how I'm meant to be reacting. Even so, it's at times frustrating in its lack of image but it's still a metal record worth hearing, just don't pay too much for it!

6.5/10

Metal Church - The Human Factor (1991)

One of metal's most underrated yet wonderfully talented acts. Here's a band who've grown from their thrash roots to incorporate a classical metal stance, but still remaining as powerful and intelligent as say, Megadeth. Terrible album (possibly influenced by the sickly alterno-metal scene at the time ?) cover hides another clinical record of power thrash. Mike Howe's remaining one of the best and most diverse vocalists in the genre, this is extremely progressive metal for anyone looking for thinking man's metal. In fact the intelligence shines through because after reading the seemingly cheesy lyrics to the title cut, one would think it difficult to get away with such an all too honest set of lyrics.

Metal Church may lack the imposing arrogance of other bands, especially those who sell out stadiums, but this is equally as energetic and important rock music. The instruments fuse together to erect a huge wall of searing sound for Howe to Sneer through. Cool grooves, memorable choruses and no issue excluded. It's a if the messages left by Priest in the '80s which I ignored, have now been polished and re-presented to me by Metal Church. Highly technical, refreshing, cold steel grooves, just check out the almost funky strut mid-section of 'Date With Poverty', but it's done for keeps, no slacking, just burning metal. Lyrically a superb record, but so much to take in, those crisp guitars, the ear-shredding bass and rumbling drums, a headbanger's paradise but maintaining a complexity of beauty. Cutting edge metal, 'In Due Time', 'In Mourning' and 'Agent Green', all slice and dice the brain like wire across cheese.

Cool band in a very metal way.

8/10

Judas Priest - Defenders Of The Faith (1984)

A more hoarse Halford bellows and wails through that crotch-grabbing soundtrack 'Freewheel Burning'. I can see it now, leather-clad studs on big, bad bikes and frizzy haired harlots giving admiring glances over their lacy shoulders. Priest at their best are a formidable act, but at their cheesiest they often fall short. Thankfully 'Defenders...' shatters any fears as Tipton and Downing begin on volume ten. Sharp, clinical hell hath no fury metal meltdown. Back in the day I wasn't actually much of a fan and have found the band's recorded output slightly irritating, often lukewarm and patchy, but when on form they smoke. 'Defenders...' has all the perfect ingredients to be a soul destroying metal menagerie of raging beasts.

Full of fist-pumping and holocaustic headbangers, ya know what ya gonna get with 'Jawbreaker', Holland's rattling cymbals crashing through the night, the guitars leaving fire in their wake. Strangely as well, it seems that Priest's lyrics, which seem so terribly cliched, do in fact work so much better than thousands of other bands. I guess they were one of the first to get the metal pandemonium down to a 't', hell fires, raging storms, dead of night, you know the score, ripping flesh for the sake of burning metal. The message is simple with Priest because at times they had the power and intensity to deliver it. Admittedly, when they failed, they were a corny bunch, but when they succeeded they stoked the fires for the early days of metal like no other. It's no surprise so many bands were influenced by such chest-pounding, domineering and leathery rock 'n' roll.

Priest are vital to metal and when they staked their place, they made themselves fossils in the framework of the genre for all to see, hear and be inspired by.

8/10

Treponem Pal - Excess And Overdrive (1993)

Impure rantings from industro-rockers Treponem Pal, somewhat angry cult rockers who I've admired for years alongside Ministry and The Young Gods. 'Excess...' is the bands third opus, a clattering think-tank of grey smoke and buzzing rock angst. Vocal sneer courtesy of the brooding Marco Neves. Strangely, I put the more hideous streaks of Faith No More alongside this fiery bunch than any of the funk metal crap that emerged during the alterno-metal explosion. Just lose yourself in the horrifying rages of 'Out of Reach' and clanking strains of 'Pushing You Too Far', to appreciate the madness and iron void this band creates. This is real alterno-metal, forget the slabs of grunge for students. I'd much rather get a rusty hook in the cheek from TP as Sall's drums pulverize like some demonic march into the apocalypse. Far from the depressing plateau that some would have had you believe back in the '80s and '90s, this kinda stuff is gloriously Gothic in its vision, and deliriously punk in its venom.

Reminds me of a more orchestrated and genuine Swamp Terrorists, who I felt sampled too many riffs at times. 'Excess...' is a razor blade across the face invitation to the underbelly metal.

7.5/10

Trash - Watch Out (1984)

Well, the guys look pretty serious on the cover, and it's very European, but it harbours quite a groove. That opening cut is pretty full-on, and whilst slightly out of tune, vocalist Tony Roy Taylor is quite an imposing figure. Kinda classic hard rock mixed with a hint of sleaze and leathery pout. Reminds of Scorpions' Klaus Meine in the vocal department although by track four, albeit a decent rendition of Lou Reed's 'Vicious', I'm finding it a bit grating, simple as it doesn't go anywhere. Sure, there are bands, i.e. Riot, who can provide quality rock throughout without ever doing anything seemingly drastic, but Trash just lack that special something. Sure, 'Born To Be On The Top' is a pure rock 'n' roll anthem, and the title cut embeds itself in you like a chain to the face. I dunno, maybe I need to listen to this more in the dark, because for all of its effort and rolling grooves, there's something plain about it. Maybe I'm just not in the mood, but it's still worth a listen or two.

6.5/10

Mortal Sin - Mayhemic Destruction (1987)

I love the album cover, even if it's as predictable as the journey within. Admittedly, these were the kind of thrash records I existed on as a teenager. Solid riffs, often mid-paced, from the drum laden thud of opening instrumental 'The Curse', pretty formulaic, but I prefer 'Mayhemic...' to the more polished 'Face of Despair'. Looking back, I don't think there was such a thing as a corny lyric, because so many bands were aiming for the same atmospheres and imaginings. 'Women In Leather' is not the greatest thrash title, especially when you consider what bands such as Metallica and Slayer were thrashing out at the time. But again, I'll defend this kind of thrash, because its robust, its a healthy diet and intoxicating in its production because although it lacks originality, I simply find it endearing.

Australian thrash never got the credit it deserved but this sonic assault wouldn't be uncomfortable alongside the likes of Testament, Exodus and the likes. A relatively short record at eight tracks, again, this was the formula back in the day, and often hiding behind an artistic cover. 'Blood, Death, Hatred', 'Mortal Laughter' and the title cut follow a familiar vein, but it works for me. i don't think a majority of thrash dates, maybe it's because I was there to appreciate at the time as a big scene, but I like to think that bands like Mortal Sin were better than given credit for. Whilst they never had it in them to write a 'Reign In Blood' or 'Master Of Puppets', Mortal Sin still caused a reasonable level of ear destruction!

7/10

Electric Angels - Electric Angels (1990)

This kinda boozy, floozy retro rock 'n' roll is a touchy subject with me. I adore the Faces, Rolling Stones, etc, but it only works occasionally when replicated, i.e. Black Crowes, and quite a few British acts. Electric Angels rely too much on the thorny imitation, with top-hats perched on scruffy heads, paisley scarves and drunken anthems, it's all been done before, and so much better. 'I Believe' is okay, but by the time 'Rattlesnake Kisses' attempts to strut, but instead stumbles, it's a mess of a record. Maybe, just maybe these guys are authentic alley cats, but Hanoi Rocks, New York Dolls, did it far better, and I just can''t hear another sleazy bar stool number in ode to whiskey, cigarettes and lost love.

'True Love And Other Fairy Tales' almost crawls across the line as a reputable dealer in tattooed ecstasy, but nope, it might as well be Poison's 'Every Rose Has Its Thorn'. The Quireboys did a similar bar room brawl, but I just don't think these guys have a rock 'n' roll bone in their bodies. Sure, ya can dress up like Keith Richards and try to sound rusty in the vocal pipes, and getting Bolan and Bowie producer Tony Visconti in shoulda worked some magic. However, Electric Angels, who probably took ten seconds to think of their band name, lean on each other like beer buddies, but I just think there's too much water in the whiskey for yet another band of this ilk to work.

5/10

Roxx Gang - Things You've Never Done Before (1989)

I probably shouldn't like this record as much as I do. Back in the late '80s I may well have scoffed at such leather-clad and lispticked girly boys. However, whilst I expected this to be a lightweight and plastic sounding foray into glitter glam, I was totally wrong. Okay, it's not 'Too Fast For Love', but there's alot of grit here, especially in the riffs of Taylor and Hayes. In fact, Roxx Gang are a pretty decent looking bunch in a once saturated sleaze rock market which mainly comprised of huge hair, lots of make-up but little talent. 'Things You've...' has a darker side to its glam-slam thank you mam scenario's.

The darker side is boosted moreso by the drool of Kevin Steele who flits somewhere between AC/DC's Bon Scott and Faster Pussycat's Taime Downe. Big anthems and dirty licks don't elude here, the band seem to rather effortlessly compile a collection of pretty nifty sleaze rock stompers, all dealt with in an almost lazy grime. 'Scratch My Back' and the slower 'No Easy Way Out' will hook their claws in to your head, but this isn't a case of cliche and hairspray delight. 'Race With The Devil' burns up the road, 'Red Rose' is a slo-burning sexual gothic grind, but there's no corniness here, in fact, the album is bereft of fakery and cheese despite what you might immediately think when you read titles such as 'Too Cool For School' or 'Need Your Sex'.

7/10