Fresh Metal
Santers - IV
(Bareknuckle/Avex)
History lesson time: Santers were a highly capable and confident, highly commercial and incredible Canadian hard rock sity-ation from the early '80s. Purveyors of three slick, drinkable, Def Lep-probable records, Santers slinked off after semi-profitable success due to their label folding
and leader Rick Santers getting a high-exposure, heart-searchin' touring gig with buds Triumph. It's 14 years hence, and Japanese heroes Avex have splendidly rocked tha' house, offering all three crafty, crafted releases on CD for the first time, each with a bonus track, plus the long-lost fourth, damn well completely carved to perfection Santers spread called Top Secrecy. Top
Secrecy is a little limp and poppy but hey, it's Santers, so it's well done (these guys record and write like bloody friggin' star-crossed lovers). However, it is a progression into perfumed
ponderousness and we cannot be happy. But the bonus tracks are lusty, and Rick has written a detailed band history with wistful smarts (plus there's a bunch of new photos). Bottom line: any fan will be well served, and those who crave to know the roots of the present AOR boon/boom, let's just say, these Canucks were the masters, notwithstanding doppelgangers Coney Hatch. Contact: dandelion@interlog.com or www.interlog.com/~dandelion
Rating 7.5
Night In Gales - Thunderbeast
(Nuclear Blast)
Night In Gales have thickened and toughened their unique alloy of melody and death, cranking the
distortion on their guitars, and for that matter, Goobes' vocals, which are less black and more
almost Chuck Schuldiner-like. Plus they've really gone for that de riguer metal groove, mastering
the Maiden-derived gallop practiced by the best black metallers today, drummer Christian Bab
swing-smashing those cymbals with heft-bag confidence versus the stiff blastbeats of the band's
debut. Strange, I almost see these guys getting lost in the onslaught of great Nuclear Blast
product, but they shouldn't be for one simple fact. They've kept the good stuff from the extreme
and infused it with effortlessly likable '80s metal ideas of many flavours. To my mind, this band
ushers in a deserved backlash to the paint-by-numbers recreations of Hammerfall and Primal Fear,
who are beginning to sound, by comparison, a little too over-corrected. Two marks off for the
band's gimmicky combing of words. Pretty damn pretentious and falsespooky.
Rating 8
House Of Shakira - Lint
(blueStone/Pulse '97)
House Of Shakira - On The Verge
(blueStone '98)
Two records for all intents and purposes coming out at once (long story). With respect to the
debut, after the first obvious interview question (Why Lint?!), next might be how come these guys
sound so much like Tyketto right down to the Danny Vaughn vocals (Danny now incidentally a
labelmate with his band Flesh & Blood). Strange and moderately wonderful Americana to these guys,
even though they are Swedes. House Of Shakira have soaked up their influences well, and there is a
sense of authority here, like these young foreigners are really well-traveled LA rock rats who
love to dress above their station. Feels under-produced, but I think it's just a vague, possibly
unwarranted impression more towards under-arrangement. Come record II, there's a hint of that old
hair band thing the American bands went through post-grunge, that metamorphosis to something both
darker and dirtier. Maybe I'm just imagining it, but the mix is a little looser, especially the
drums, and life questions seem to loom Larger. Plus thereās more acoustic stuff, more arranging,
and a bit of experimentation (African music, bloody 'ell?). Chalk it up to maturity of an already
confident band, although whether you can really care might have more to do with your post-ironic
acceptance of the next wavey wave of hair.
Rating 7.5, 7.5
Kiss - Psycho Circus
(PolyGram '98)
Proving their image as big fat lying charades, Kiss were plagued with rumours of infighting, faked
personnel roles (much of the instrumentation was very likely played by session flunkies), and
rampant fan-screwing consumerism. All fine if the instincts to also deliver a good record were on
board. Nuh-uh. Although you don't have to take my word for it (most reviews are negative, but not
all), I'd say this thing is a sick, sick joke. Lead single Psycho Circus was an OK piece of
clogged, somewhat strugglingly successful stadium rock, a wise kick-off track given the lobotomy
rawk elsewhere. But the rest sounds like the worst, phoned-in Crue records (Theater Of Pain and
Girls Girls Girls), crossed with the worst, phoned-in Kiss records (Crazy Nights and Hot In The
Shade). Whoever is drumming sounds like Criss anyhoo, no groove, no imagination, square and
listless. Production values? Well, the much-maligned '80s offered some nice ideas, mostly around
detail, work ethic, care for fidelity. Psycho Circus just picks the crap ideas and runs brick
wall-bound, that turgid mess of snare, goofy fence-sitting guitars, just a half-hearted, limp
noodle effort all around. Like a past-expiry, resentful hair band with a chopped-in-half budget.
In the cheap ploy department, there's plenty of lyrics that aspire to We Are The Champions' or The
Final Countdown's sports barn dominance, a fathomless bass farts song from Gene called Within, an
unimaginative, demo-dumb remake of Kickstart Your Heart, and a Criss ballad that will make your
eyes water. It's like, 'OK, Pete, weāll let you throw all your faculties into one track and one
track only, after that shut-up. And by the way, you take the blame.' It's funny how we treat this
band like retards, those who can't swim through the maudlin kitsch of the thing saying, 'it's OK
for Kissā or 'hey, it's a Kiss album.' But dammit, so were Revenge and Carnival Of Souls, both the
only smart records the band has ever birthed. So here we sit, with a couple of songs that will
sound OK live, a scant 45 minutes in total, with about a half hour of miserable filler. I would
have expected more, certainly not from these four, but from a business consortium that might have
realized such an event might call for serious thought about outside writers (and not the usual
cast of Adams/Heart/Aerosmith/Cheap Trick/Kiss housewives). One nice touch: spirited vocals from
all, each character actor getting his due, especially Stanley who really makes you think Kiss has
talent.
Rating 3
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