Mordred - The Next Room (1994)

When I heard that Scott Holderby had left the band, it was as if someone had died. When you’re a teenager wrapped up so heavily in music, and in certain bands that you take on as if they are your own, band changes effect you also…it’s bizarre. I rang the London Noise offices who kind of smirked at the split. I received a letter from drummer Gannon Hall who claimed that Scott had been involved in fisticuffs with one magazine reporter, but worst of all was when I heard that they were carrying on without him. Now, don’t get me wrong here, but bands can remain cool with new members but Scott’s style was very much what Mordred were about in the same way Pause had become part of the furniture as such. And when you release three records with that person it’s not easy to replace them, especially when that person had a real originality about them, and stamped themselves so effectively upon the career of the band.I heard the Acrophobia ‘single’ and threw it up the wall!

Sure, this is all about opinion and I’m sure the sound on The Next Room may well have gained the band a few more fans, because in a nutshell, this opus is power-grunge-metal, something akin to Corrosion Of Conformity’s mighty 'Blind' and and also Alice In Chains records…only nowhere near as good, and that hurts to say that. So, in came new vocalist Paul Kimball, a throaty mover of some power which is great if you like Pantera and the nu-metal breed of vocalist, but this just doesn’t work. This wasn’t Mordred, despite Gannon Hall saying this was his best drumming performance or whatever.

Mordred meanwhile had become stream-lined, more metal, less thrash, and far less cool, with any kind of experimentation sounding almost awkward next to power metal riffs. Was this a way of attracting a metal audience ? Whose idea was this ? Yet, for over almost an hour I had to sit there thinking, “…what the hell is this all about ?”. 'The Next Room' is bland, despite some decent lyrics and experimentation, but Kimball’s vocals are extremely dull despite their power, Pauses’ scratches mundane and predictable and the tracks are forgettable, despite such ridiculous titles such as 'Rubber Crutch' and 'Murray The Mover'. Are you serious ?

Tracks such as 'Lo-Cal, Hi-Fiber' and 'Skid' skip by without effect, at times Kimball seems to slip into a Holderby mode, it doesn’t work. There’s even a track called 'Crash', yet it has nothing to do with the original the band recorded. It seems to have a hangover from 'Vision' in its slo-mo approach and it’s pointless, and by this time you’re left wondering what direction they are taking. 'Splinter Down' is run-of-the-mill metal, nothing more, a mediocre six-minute ramble that never changes pace, and then we have Aaron’s contribution, a jazz-club special called 'Shut' that doesn’t fit onto a record bereft of coolness. It’s actually better than 'Close Minded', sewn together by a wailing sax but ruined by Kimball’s non-descript vocal yell, which pretty much drowns the whole record, as well as the samey riffs of mundanity. Shall I go on ?

'Pauper’s Wine' sounds like the hideous mess that is Nickleback, suggesting an almost polished grunge feel, 'Acrophobia' is okay…for another band, at times catchy, with a chorus that suits Kimball’s voice, but it’s regular stuff, the same formula through-out, and on 'Murray The Mover' things get a little embarrassing, Kimball’s gravelled voice just not accustomed to singing what are an attempt at ‘groovy’ lyrics, enough said. 'In A Turn' is another soulful cut naked without Holderby’s execution, 'The Trellis' is bland, 'The Next Room Over' a drab instrumental affair, splashed with the almost now predictable scratching and the final track, 'Rubber Crutch' begins like some ‘80s metal anthem and never shifts gears from its tiresome routine.Even if you judge this as a separate rock record, 'The Next Room' is a tired affair, lacking most of Mordred’s unpredictability, class and soulful innovation. And even the band must have known this, which is why this opus was the last record, but one which most certainly disassociates itself from the others like some ugly sister.

And don't get me started on the album cover...

4/10

Jellyfish - Bellybuton (1990)

This being the bubblegum power-pop debut from this criminally underrated yet influential band. This certainly slipped into the altern-rock bracket despite lacking any weight to consider it even hard rock. But hear these songs just the once and you'll be hooked by this magical mystery tour of psych-pop and wonderful, blissful harmony. 'The Man I Used To Be' and 'That Is Why' have that hooky, Enuff Z Nuff meets the Beatles meets Cheap Trick via ELO, purely magical, sugary and ridiculously catchy. I recall 'The King Is Half Undressed' making a few noises back in the day, but I can just imagine the talent of these guys being overlooked and swamped by the hordes of bands at the time screaming "Alternative!!!!"

'The King...' begins with a 'Revolver' backwards drum-loop, summery chorus, 'I Want To Stay Home' will have you asking, "Have I Heard This Before ?". Truly inspiring, sad, emotional, supplying the same magic that, dare I say, Mother Love Bone could provide, only this time this is certainly more '60s influenced. Think Crowded House also. Ten tracks of scrumptious, genial music, not really for the metalheads...but who cares, especially when we hear Saigon Kick, Enufff Z Nuff etc, striving for similar bamboozlement.

8/10

Kill City Dragons - Kill City Dragons (1990)

A short-lived rock 'n' roll troop, formed in '89 and fronted by the oddly named Billy G. Bang...but don't let that put you off. This is lipstick 'n' leather, struttin', sweatin' and fuckin' rock, a cool, hard mix of Faces, The Stones, New York Dolls, Hanoi Rocks, Crue, blessed with the superb 'I Don't Want Anything From You', and in Mr Bang, a rough 'n' ready set of pipes who can go from sickly sarcastic glam kid to full-blown, hoarse and screamin' cat.

Hard to actually put this shang-a-lang romp down. Grab a bottle and take to the floor, get wasted, collapse...come back for more. The stompin' 'That Aint No Lie', cool sleazoid grooves courtesy of Steve Von Saint's guitar licks, some super-funky rock 'n' roll struttin', hugely memorable, 'Devil Calling' digs its claws in deep, 'Fastest Way Down' provides glam rock saxophone, a party anthem of hairspray and Jack Daniels.

Something so tragic about the band, maybe it's the desperate rasp of Bang and the fact that this was all the band really did in the studio, yet what a good time was clearly had by all.

Oh no it's only rock 'n' roll...but I like it.

7/10

Bar 7 - The World Is A Freak (2000)

Formed by Tesla members Jeff Keith (vocals) and Tommy Skeoch (guitars), this is ultra cool bluesy hard rock of typically memorable, soulful tunes. Opener 'Freaked' rumbles in like Crue, but 'Four Leaf Clover' is a level-headed slo-burner which melts into the beautiful 'Got A New Life', which really showcases the wondrous talent of these guys and explains as to why Tesla are so cool. This huge track is pure sleaze with a catchy chorus, although the initial chug of 'No Show' suggests Bar 7 are anything but a light weight and cheery rock band. 'No Show' is a sticky sweet rocker, in contrast 'Love Is Such' makes a move like a feline lover.

There's no telling where Bar 7 are going with their lush sound. This is no mere exercise of ego for Keith and Skeoch, but instead a big sounding, swaying and breezy hard rock record. Probably just a one off but another of those must-hear records that caters for every mood.

7.5/10

Katmandu - Katmandu (1991)

Any band fronted by the sultry-piped Dave King, will get my attention. A magic voice, born from the Robert Plant school of hip-shaking vocal chords. Katmandu is King's venture after many years with Fastway, and it was this guy's fiery throat which got me into metal after the 'Trick Or Treat' soundtrack which turned my world upside down. Katmandu is less evil, naturally, but still ultra cool, 'The Way You Make Me Feel' is a sexual boogie strut, 'God Part II' shimmers and slithers across the floor and the next ten tracks follow a similar rip-roaring vein. Bluesy and pumped up guitars, plenty of electric soul, finger-snapping coolness.

'Heart & Soul' begins like pure Zep, and 'Only The Good Die Young' is more Zep for the mind...but this is too cool, too laid back and too real to be considered a poor mimic, instead Katmandu offer a suave and casual blend of slinky rock and blues-based meanderings. I just can't fault the guy's voice, a distinctive rasp which played such a huge part in my metal initiation. So, for me, Katmandu, like Fastway, have halo's perched on their heads.

8/10

Various - Thrash The Wall (1990)

Metal compilations used to be great...often these odd releases would introduce many a metaller to so many cool, unknown bands, so it was always a little confusing when volumes were released featuring mostly known acts. In this case, label Roadracer give us another terrible album title and cover, something they did with the weak 'Stars On Thrash' compilation, but thankfully most of the tracks are decent. Not sure why Motorhead's 'Eat The Rich' is on here, and King Diamond's 'Sleepless Nights' isn't one of his best, but Running Wild's 'Raging Fire' is a decent fist pumper, Sodom's 'Remember The Fallen' is mid paced, cleaner and more melodic than you'd remember Sodom for being, but for me it's the Mordred-esque Paradox, Rage and 'Invisible Horizons' and Atrophy who steal the show. Cool thrash which stands up well alongside the big boys of the album, such as Obituary, Sepultura Annihilator and the rather painful Helloween.

A good fun compilation.

6.5/10

Thee Hypnotics - The Very Crystal Speed Machine (1994)

Hell yeah, check this one out. Thee Hypnotics are a genuine rock 'n' roll experience, if this had been released in the UK after the second coming of Oasis, then I'm sure great things would have been aimed at these guys. A drugged up, sleazy, bluesy mini-masterpiece that mocks The Black Crowes and reeks of Hendrix, Rolling Stones, and Primal Scream. Very cool, psychedelic, lava-lamp loving honky-tonk, bitchin', badass rock 'n' roll. Ignore the occasional instrumental doodlings, and stand aghast at 'Caroline Inside Out' and its dreamy, kaleidoscopic veil, or become as one with the blood, sweat buzz of 'Tie It Up'

Thirteen cuts, (well, eleven without the pissing about tracks)...hammond fuelled, soulful, magical uprising...probably created over a mammoth spliff or two, 'Look What You've Done' is a lost classic, pure bluesy anarchy, this album just has class written all over it without even trying. I hope the band realise how cool they were. Mind you, whilst browsing on Amazon I was rather pleased to see that the people who'd purchased their album had also bought The Front, Bakers Pink and Beautiful Creatures...proof in the coolness.

A stunning record that spends most of its time stoned on its own ego, and that's what makes it such a fine experience. Angels with syrup on their wings.

8.5/10