Reviews roundup – Evergrey vs. Rebellious Spirit vs. Jennie Devoe vs. Big Joe Bone

EVERGREY Hymns For The BrokenEVERGREY
Hymns For The Broken
AFM

Evergrey, eh?  I thought they’d split up, but seems I was wrong as their ninth studio album, and first since “Torn” in 2008, is out and about.

Evergrey were at the forefront of Swedish melodic metal 15 years or so ago, but never really broke through to the top of the league, despite some excellent releases.  But they seem to have thought long and hard about this one, and it’s certainly one of their best,  despite the, um, interesting cover art.

The opening track is quite a nasty little number before the single, ‘King Of Errors’ arrives.  Neither take your breath away, but once you get into the body of the album, there is some outstanding material on offer. Unusually for me, it’s the big ballad, ‘Missing You’, that is the real killer, but if you’re looking for some taut riffology, then lend an ear to the title track and ‘Barricades’  Awesome doesn’t do it justice.

I don’t know if it’s too late in the day for Evergrey, but this is a real highlight for them.

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REBELLIOUS SPIRIT ObsessionREBELLIOUS SPIRIT
Obsession
Steamhammer / SPV

Aiiieee!  For sure, it’s off to Germany now for some old school metal, courtesy of young up and comers Rebellious Spirit. I enjoyed their debut, “Gamble Shot”, which was part of the New Wave Of Dodgy Eighties Glam Metal, although I do remember saying that when “I read that this was recorded “only on weekends because of school”, I do feel like crying.”

Well they’re back for another crack, and I’m glad to say that little has changed in their world.  Not surprising considering most of them are still in their teens, although now out of school.  It’s foot on the monitor, hairapray standing tall, spandex riffs and poptastic choruses to the fore, and it’s a really fun listen.

The title track, ‘Look What I’ve Become’, ‘Silent Scream’ and ‘Forever And Ever’ have the eighties writ large, but when it’s all down in dayglo effect you can’t help but get swept up in their enthusiasm.  The songs are ace, the production is a bit loose, as it should be, and with their trousers tight and their fists clenched, it’s anthems all the way.

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JENNIE DEVOE RadiatorJENNIE DEVOE
Radiator
Rubin the Cat

Subtitled “The Bristol Sessions”, this sees Midwest based blues / soul singer Jennie Devoe heading off to the land of the burr, to record an album with John Parish (PJ Harvey, Eels, Tracy Chapman etc).

An odd combination, but Parish resists the temptation to dampen down the enthusiasm of Devoe, but instead allows her voice to get front stage and centre, where it belongs.  And it’s a cracking voice, all southern drawl and rasp, the kind of thing that has no place in the modern world, but once heard never forgotten.

It’s sounds incredibly old fashioned, but then it turns out that it was recorded live on 2 inch analogue tape with no overdubs.  To be fair, the self penned songs don’t often live up to the performance, with only a couple of standouts like ‘Keep The Faith’ and ‘All That Sugar’, but if Ms Devoe happened to bump into some better material, then she really could make a name for herself.

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BIG JOE BONE Blues Grass Kicks AssBIG JOE BONE
Blues Grass Kicks Ass
Recordiau Awen

Here’s Danny Wilson! No, not the shite Dundonian, eighties popsters.  This is London born, Welsh based Danny Wilson, who has decided to call himself Big Joe Bone.  Now he may be from the deep Sarf, as opposed to the deep South, but he’s bunged out an album steeped in acoustic blues, bluegrass and old time religion.

Unusually, though, he’s written all the songs himself, even if they do sound a wee bit like something you’ve heard before.  But that’s often the case with old time music, and as he picks away on guitar, plays banjo, honks his harp and stamps his feet, he reminds you of some other fella with a made up name and a beard who does similar things.

You’d never guess he wasn’t from over down yonder as he rasps and stomps his way through some cracking tunes, dropping in and out of Bukka White and Flatt & Scruggs mode, sounding 50 years older than he is.  It’s all Big Joe, bar some backing vocals, harmonica and hand-clapping from Ivor Aldred, and if you do like old school country and blues, then this really will be a treat for you.

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