Warrant ~ Cherry Pie (album review) ... Licking it up!

Style: glam, hard rock
Label: Columbia
Year: 1990
Home: California

Members: Jani Lane ~ vocals
Joey Allen, Erik Turner ~ guitars
Jerry Dixon ~ bass
Steven Sweet ~ drums

Additional: Mike Slamer ~ guitars
C. C. DeVille - guitar
Bruno Ravel, Steve West ~ b. vocals
Alan Hewitt ~ organ/piano
Beau Hill ~ organ/banjo/keyboard
Paul Harris ~ piano/strings
Juke Logan ~ harmonica

Though it pairs off against it's predecessor as the band's biggest selling album it's undoubtedly their most memorable & always will be even if they made their greatest comeback tomorrow ... or as soon as Jani Lane gets out of jail & reunites with the band. It's the bit odd & incredibly shallow, in that 80's big hair way, hit single "Cherry Pie" with it's follow-up power ballad "Uncle Tom's Cabin" that are the sole reason why we remember Warrant from the mass of bands that sound & look, just like them. These songs have even eclipsed the album they're on nearly making Warrant a one-hit wonder. Honestly, compared to their peers, there's nothing particularly unique about this album, which doesn't help anything. It contains a plethora of group vocals typical of the time with a flashy guitar solo to go with each cry, the sentimental power ballads, the rock anthems, an occasional David Lee Roth chuckle, scream & banter in between verses. Calling this a party record might be an understatement of it's most attractive feature. It is the epitome of a rock'n'roll 80's party with a range of sounds & screamed lyrics that seem to go right through the roof. Which is both it's asset & it's fault. It's the stereotypical Sunset Strip/L.A. glam sound, but a lot of their peers, such as Guns N' Roses & W.A.S.P., were able to have more than just musical flash but musical experimentation that expanded the glam sound while singing something other than maudlin sentimental cliched lyrics. "I Saw Red" is a highlight power ballad with a piano melody with crashing guitar parts, though nothing we haven't heard on Motley Crue's "Home Sweet Home" or G'N'R's "November Rain" to better effect, while "You're The Only Hell Mama Ever Raised" could have been the hit single if there hadn't been any "Cherry Pie" to eat up. But, I don't think we would have remembered it all these years later. I will confess that I have a soft spot for 80's L.A. hard rock as all who read this blog know. Rock'n'roll started as fun party music that didn't take itself too seriously & this is a straight line on the family tree. If you want the epitome of the era Warrant has got to find a place in your collection. It may be shallow & imitative but you really can't go wrong with this music & it's always fun no matter how much you listen to it. To emphasize it's spot in the 80's era it even includes an odd tack-on called "Ode To Tipper Gore" featuring not music but Jani Lane cussing in concert like nobody's business, not even Tipper's. The album also features guest C.C. DeVille from Poison & Bruno Ravel & Steve West from Danger Danger, while it's been rumored and confirmed by his wife that all the guitar parts were by Mike Slamer of Streets, with not a note by the Warrant guys. Maybe that's why Jani was cussing so much.

Bazaar Royale ~ Hard Times Celebrate (EP) (album review) ... Music for the rebel!

Style: hard rock, heavy metal, rap
Label: Bazaar Royale
Year: 2008
Home: New York City

Members: Bazaar Royale ~ vocals
band n/a

Guest: Phil Collen ~ Guitar

Bazaar is credited with creating yet another sub-division of metal - ghetto metal. But, before you groan & say you already know what it sounds like ... Bazaar is one step ahead! Actually, he's literally been one step behind having lived in the ghetto of New York City nearly homeless & broke, a victim of the record label playground before his chance was given & choosing to go back to singing in the subway before going through the game again without being given an opportunity. Heavy metal is, at its core, an expression of angst which makes for a perfect bedfellow for the blues of the ghetto. Why the two haven't been more exploited might have a lot to do with racism. No one talks about white people living in the ghetto, though they do. But, if his ethnicity gives Bazaar an unnatural edge he's also not laid back & enjoying the ride but giving it every punch he can muster to some startlingly genre-bending results. The result brings in an honesty not found in a lot of metal bands with their 'angst-ridden' middle class backgrounds. The blues of the ghetto also are given a dose of optimism & hope in Bazaar's lyrics in his musical suite of self-discovery. But, back to him being one step ahead ... a voice like a Motown soul singer straining to get as much emotion as possible into the air against a rhythmic rock guitar & keyboard background that's layered in such a way to sound more simple than it really is. "Rebel In Me" also features occasional dips into falsetto or what's a pretty close Axl Rose imitation, something deemed impossible until hearing Bazaar. Each song is its own little world showing quite a range of diversity & sounds, but none of them venture into the waters of uncontrolled riffing, sloppy rhythms or over the top solos, with the vocals always keeping the focus like a conductor. At times (i.e. "Hard Times Celebrate") the band falls into basic rhythms while Bazaar does a quasi-rap over it. But, this isn't profane fast rapping but something more akin to Tupac's soft side, or for the rocker's reading, the famous Aerosmith/Run-DMC meeting. Rap when it was honest but not ugly. Bazaar has been catching the ear of all those who hear them. I'd agree! Check him out. 

Judas Priest ~ Nostradamus (album review) ... I wonder if Nostradamus would approve of this?

Style: heavy metal, speed metal
Label: Epic
Year: 2008
Home: England

Members: Rob Halford ~ vocals
K. K. Downing, Glenn Tipton ~ guitars
Ian Hill ~ bass
Scott Travis ~ drums

Additional: Don Airey ~ keyboards

 

Concept albums can be good & bad in terms of results. There's nothing inherently wrong with the idea but it's not for every band. At it's best probably is The Who with Tommy & Quadraphenia & Lou Reed's Berlin & nearly equal is Bowie's Ziggy Stardust, though the story comes & goes & one might even include Alice Cooper's story of Steven on Welcome To My Nightmare. The Beatles tried it with Sgt. Pepper, but is there really a story on that album or does the story actually cover the whole album? Yes's Tales From Topographic Oceans is probably one of the most ambitious forays & depending on who you talk to the results are either great or over the top. Lou Reed's The Raven might be one of the most failed versions as the 2 CD was deemed so unlistenable it was released in a 1 CD edited version. So, it's not so much the idea as the band. Some bands can do it. Some can't. But, definitely concept albums musical ambition has been shown to be more a risk than a sure success. We all raved when we heard Priest, again with Rob Halford, were recording a new album - a 2 CD set based on the life & ideas of Nostradamus, no less. Ambition plus working overtime here for a band not known for concept albums! But, I remember telling a friend when I'd finally heard Nostradamus ... how I was thoroughly disappointed. He said, yeah, I know, but I wasn't going to tell you. I actually appreciated him not telling me so I'd never wonder just how disappointing it really is. JP is not a concept album band but hard rockers breakin' the musical law but within certain boundaries that are rather predictable ... but here I feel they are trying to be a completely different band. Ethereal moody prog-rock interludes bridging dirges & classical music disguised as rock songs is not their forte. It's not that I'm against them changing their sound & experimenting. I'm happy not to hear another 3 minute riff-fest. But, I also like my music to rock & not plod. Or, I don't want my music to sound like it actually comes from the days of Nostradamus. I'm not a big fan of lute rock. I want groin action, not astrological wisdom. I can only hope this will be both their first & last foray into 2 CD concept albums & to lay off the use of keyboards & choirs to bridge the songs making it feel like a opera not an album of songs. There are aspects to this album which are great but the songs largely rely on a plodding sound that's more interested in getting the message across then flaming guitar solos & Halford's famous vocal pyrotechnics. Filler plus, the songs are bridged by scene change music, that overlaps the ends & beginnings making it all one long ... Grateful Dead concert ... & thus destroying the songs themselves as they are fragmented into pieces & incomplete. This is power metal for the wrong band that might have been a career highlight for anyone else. Dream Theater would be a good choice. But, with JP something is missing. They went too far with the idea & lost the essence of the songs. As it is, there's exactly 10 songs on the 2 CD's that I like. So, less than half the album I find to be listenable. For those who are wondering, so you can program your ipod to skip the rest: "Death," "War," "Prophecy," "Visions," "Revelations," "Pestilence & Plague," "Nostradamus," "Future Of Mankind," "Conquest" & "Persecution." "War" probably has one of the few orchestra solos on a heavy metal album, particularly with it's sword battle sound-effects. If you want to do the single CD version, like Lou Reed's The Raven, his similar biographic tribute to the life of Edgar Allen Poe, I've already given you the tracks to include for the single CD version of Nostradamus.

L7 ~ Smell The Magic (album review) ... Cast the spell!

Style: grunge, alt rock, punk
Label: Sub Pop
Year: 1990
Home: Los Angeles, California

Members: Donita Sparks, Suzi Gardner ~ guitar/vocals
Jennifer Finch ~ bass/vocals
Demetra Plakas ~ drums

Guest: Mike Patton ~ vocals

 

In some ways I'm reminded of the Helldorado, or screaming era, of W.A.S.P. listening to this. Though, I think that has more to the high pitched screaming, nasty lyrics (i.e. "Straight girls wish they were dykes ... got so much clit she don't need no balls" from "Fast & Frightening") if not violent (i.e. "Packin' A Rod") & fuzztone guitars (i.e. "Fast & Frightening") & surprisingly distinct melody lines over what is clearly raw punk rhythms. The similarities also extend to the leather-clad look & feel of the band & the fact they share L.A. as a home, though this is where the differences start. While W.A.S.P. is firmly L.A. metal, with a few albums going into more experimental ends of the genre, L7 is much more garage band-esque as has come to be associated with the grunge movement because of their raw energy & personal lyrics. W.A.S.P. is far more pretentious & flashy. While L7 might just flash. It doesn't help that Smell The Magic was released through one of Seattle's top & now legendary labels, Sub Pop, who are not just famous for being a leader of Seattle music but also discovering Nirvana, releasing their debut Bleach. As for being associated with grunge I've always had difficulty in figuring out what exactly is the grunge sound or if there is even a Seattle sound. Just compare grunge leaders Pearl Jam & Nirvana. Outside of sharing charismatic singers, these bands sound nothing alike. One only has to forget about grunge & look at Seattle music in general - which includes Heart, Soundgarden, Screaming Trees & Mud Honey - to wonder if there's really a Seattle sound. Maybe it's not in the sound, maybe it's in the coffee intake. We (I used to live there & grew up north of there) drink a lot of coffee! So, to acquaint L7 with grunge may or may not be helpful. It might be better to call L7 not the carriers of the grunge flag but picking up where the Runaways left off, which everyone now knows because of the movie, that featured overly-sexed Lita Ford, Joan Jett & Cherrie Currie who strutted around stage in her underwear & were the original riot grrrls in many ways. This is much more akin to the riot grrrl movement, also associated with Seattle. The lyrics aren't fancy but are very personal with a lot of 'girl power' & social criticism of relationships (i.e. "Don't want to drown in American society" from the song "American Society"). The problem with this album is that supposedly the lead vocal duties are rotated around. But, I didn't know this until I was looking at the album notes. On the other hand there's probably not a bad track on the album. And, guys, if you can't take the girl power ... don't tell your girlfriend.

Ian Stuart & Rough Justice ~ Justice For The Cottbus Six (EP) (album review) ... Singing the early warning signs!

Style: alt rock, punk, hard rock, skinhead
Label: Rock-O-Rama Records
Year: 1992
Home: Britain

Members: Ian Stuart ~ guitar/vocals
band ~ n/a

I love the diversity of metal & hard rock, which is what initially inspired me to start writing this blog. If it's not the most diverse genre of music ... well, I dare you to prove it. But, while you're working on that fruitless task let me tell you about this album that I originally picked up for it's diverse nature, which I'll explain later, & was surprised to find the music was far better than any stereotype I had in my head. I knew about Ian Stuart & Rough Justice, RJ being one of his many backing bands, & deliberately set out to find the music to uncover this fringe hard rock band. It was a worthwhile effort. Fuzztone guitars largely reminiscent of the Stooges over a simple bass/drum rhythm, though all sounding like they were recorded in a reverb-heavy wind tunnel due to some poor production values, or maybe its deliberate as the focus is really the vocals which stand out incredibly clear. A southern drawled construction worker is the best I can describe the singer Stuart, or on the other hand he could be the British Springsteen. What makes this more than just another garage band is the clear message of social protest through some well-crafted poetry. Stuart, due to a troubled reputation, has probably some of the most underrated lyrics of the past 30 years. "Once upon a time in a land so true, the land of milk & honey for me & you ... now you're just another beggar in a long long line & then they wonder why there's a rising rate in crime" is in the highlight "Can't Spare The Time" with the great chorus. This is probably one of the least cliched & most ear-catching social songs I've heard in awhile. I'm waiting for this song & all that follow, all in the same social commentary vein, to appear on a movie soundtrack. While "Early Warning Sign" cries "Do you believe the lies they teach on MTV & in papers ... we are free spiritually" or "He says every man is equal, every man is the same, but one man is rich, another's poor, life's a funny game, we're having a good time" from the ironically titled "Having A Good Time". But, let's go back to my note of diversity before I find myself quoting every song which I want to do. Socially relevant lyrics are not new. But, it's whose singing them that's diversity. The late British poet/singer/social activist Ian Stuart is largely considered, or I should say more accurately iconized as, the father of the hardcore music scene of the Neo-Nazis, Skinheads, KKK & White Nationalists/Supremists, particularly through his bands White Diamond, the Klansmen & the more popular Skrewdriver with their seminal albums Freedom What Freedom, Blood & Honour, Boots & Braces & the classic White Rider. The album titles themselves give away all you need to know, though it should be said that Stuart started his career as just another punk rocker before taking up the White Supremist cause so these titles only reflect his later career. When you're listening to Stuart you've hit the hardcore area of White Supremist music, one of the greatest fringe elements of hard rock & punk. Stuart is the stereotypical bald, boots & braces (suspenders) wearing Neo-Nazi & I'm pretty sure created the look now adopted by many of his musical protégé. Yes, his songs are laced with racist ideology, but throughout his career one will find an equal number of complaints against big business, the Reds (largely dating his recording output) & a largely Marxist cry of consolidation for the working class amongst other causes. Justice For The Cottbus Six is largely absent of anything but the Marxist cry as it was recorded in Germany in protest against the German government that arrested six British nationalists for crimes they didn't commit but their dress make them guilty. A racist singing about defeating the Reds? Big Business? Crying against the lack of social welfare? Unjustified arrests? If you don't believe me you probably haven't done your research of the Skinhead movement beyond the stereotype. Sadly, his social protest songs - as good as anything by Joan Baez - will never be heard because of his racial beliefs that most people will probably find horrid. Considering Stuart had a career that spanned punk, rockabilly, rock & folk with some great albums, never to be heard by the general public, one wouldn't wonder if it hadn't been worth it to follow the advice of the heads of the Nationalist movement who asked him to censor his lyrics & tone down some of the hate speech. Is that not ironic? It's as if they were embarrassed by their own beliefs! For those reading who support freedom of speech except when it goes to what they label as hate/racist speech, even though there's nothing hateful or racist on this particular album, you'll be pleased to know Stuart's band was banned from London & he even served time in prison ... though for defending himself against a gang of British blacks who didn't like his hairstyle. He died in a car wreck when his car was said to malfunctioned? 

Skid Row ~ 40 Seasons: The Best Of... (hits comp) (album review) ... Slave to the metal!

Style: glam metal, heavy metal, hard rock, 80's rock, hair metal
Label: Atlantic
Year: 1998
Home: New Jersey

Members: Sebastian Bach ~ lead vocals
Scotti Hill ~ guitars
Dave "The Snake" Sabo ~ guitars/b. vocals
Rachel Bolan ~ bass/ b. vocals
Rob Affuso ~ drums

 

Everyone knows Skid Row & their pretty boy blond frontman Sebastian Bach. While everyone can probably name & maybe hum a bit of their 3 big hits: "Youth Gone Wild", "18 & Live" & "I Remember You". But, what we tend to forget is that these all came off of the same debut album (Skid Row) with nothing of consequence coming from the following 3 albums before their breakup not quite a decade later. So this is an album of 16 hits with 13 of them unknown. So, one can't help but wonder if this is really a collection of hits or a way to make more money for the band? Further, everyone knows Skid Row as a glam band, but their second album Slave To The Grind was actually the first heavy metal album to hit #1 & listening to this album one is made aware that Skid Row is indeed a heavy metal band with their glam debut almost a mistake. This is almost two bands - the glam & the metal. If you've forgotten anything after their hits, or didn't know, it's almost a jarring listen. Though, considering their debut came out in 1989 & glam would soon be killed by grunge, it's not surprising the direction they went. Though, even Bach's wild vocals change so the third album sounds nothing like Skid Row of before. Suddenly the falsetto screaming vanishes, but so does the music that would propel it. The band of Subhuman Race, the last album before the break-up, shows a growing band not afraid to experiment with fairly interesting & unexpected results that show much more development beyond their debut than many bands show. If Bach hadn't been fired & the band split who knows where they might have gone musically. They did reunite in 1999, sans Bach, but the current band is just a blip on the nostalgia circuit. This is not so much a hits package as a career retrospective of the pre-reformation Bach era. It's a great overview of the Skid Row legacy. The stuff is all great & it's a shame it didn't fair better on the charts. If you don't already own a Skid Row album having already listened to this album twice tonight I can honestly say you've got a blaring gap in your collection. This really should be 13 hits & 3 songs we don't remember.

Mono Men ~ Stop Draggin' Me Down (album review) ... By the owner of surf's Estrus Records!

Style: surf, alt rock, retro
Label: Estrus Records
Year: 1990
Home: Bellingham, Washington

Members: Dave Crider ~ vocals/guitar
Marx Wright ~ guitar/b. vocals
Ledge Morrisette ~ bass
Aaron Roeder ~ drums


Additional: Josei Cat ~ organ

For those that aren't familiar with the contemporary surf-retro-trash rock scene you're missing out on one of the largest underground markets. Born from the three-chord stomp of the Ramones, the feedback-laced energy & near cacophony of the Stooges, with the reverb heavy guitars of the Ventures & other surf bands, with a look of 50's sci-fi, cars & diners & a large illusion spread across their album covers that the music is more elaborate then it really is (i.e. one album I have describes the 3 chord rock as African jungle rhythms). Not as large as the leaders in the field (i.e. The Makers, Man or Astro-Man?, Los Straightjackets, Shadowy Men On A Shadowy Planet - who did the soundtrack of tv's Kids In The Hall) the Mono Men do have their status ... though more so because founder Dave Crider owns one of the more respected surf labels Estrus Records in Bellingham, Washington. This was my first introduction to the surf sound & I've always felt for someone not familiar with the genre this is a good starting point. The Mono Men don't have the movie soundtracks dotting their albums like Man or Astro-Man? or popularized in the main stream by White Zombie, nor even the thematic look of either such bands. They also aren't as Ventures heavy in their influence & far more garage band raw in their music, i.e. the 3 chord progressions are overly obvious along with the fact that no song lasts longer than 3 minutes with solos often being more akin to feedback frenzies of pure energy than anything else. Though, it should be noted that this is also the band's recording debut. But, being in the middle of the spectrum they reflect neither the best nor the worst of surf rock. If you like this, you're probably going to like the majority of the rest of it. While, for example, if you like Rob Zombie's monster shtick you may not like the rest of heavy metal. This album features some great hits "Stop Draggin' Me Down", "Right Now", "No Way Back", "Ain't No Friend Of Mine", "Girl", "Stay Awake" & even the obligatory instrumentals (i.e. "Boss", "Daylight" & "Burning Bush"). High energy rock without any polish or flash! 

Beyond Fear ~ Beyond Fear (aka debut) (album review) ... From Judas Priest, into the unknown!

Style: heavy metal
Label: Steamhammer/SPV
Year: 2006
Home: Akron, Ohio

Members: Tim "Ripper" Owens ~ vocals
John Comprix ~ lead guitar
Dwane Bihary ~ rhythm guitar
Dennis Hayes ~ bass
Eric Elkins ~ drums

 

I actually did not know Tim Ripper Owens, famed Rob Halford imitator & his replacement in Judas Priest, let alone front man for Iced Earth & Yngwie J. Malmsteen, fronts this band when I picked it up. I was going off of the metal-ness of the name. So, having already given away who sings you'll already know what the vocals are like - Judas Priest with all the highs & lows. I'll confess that I love Owen's two albums with Judas Priest & in many ways I prefer his vocals over Halford. Halford has a tendency to go over the top while Owens is much more grounded in his music. Owens is the gorilla to Halford's flying monkey. But, behind Owens is a firm crunch of densely rhythmic guitars on triple time, not too bloated with layers or solos, with a very strong rhythmic backbone. Opener "Scream Machine" is a great song that had it been recorded by Priest alongside "Breaking The Law" would now be a verifiable classic. That being said, the traditional metal elements are here, but this is far harder & truly metal of the new era of modern giants. Every song on this album is a meltdown headbanging classic. I can imagine that a live show would have been pure demolition. This is a great album that probably got overlooked due to the Judas Priest connection but deserves more attention than anything he did with Priest & maybe even Iced Earth. This is a warhorse addition to any music collection.

Circadian Clock ~ Circadian Clock (aka debut) (EP) (album review) ... Nocturne for the fallen!

Style: hard rock, progressive, experimental, alt rock
Label: self-released
Year: 2010
Home: New York City

Members: Vile ~ lead vocals/guitar/violin
Wes ~ drums
Charlemagne ~ bass/vocals
Ayumi ~ keyboards/vocals

When I first head about this local band I was also party to the following e-mail from their vilest singer/guitarist Vile: "We are a young energetic band of classically trained musicians, aged 18, 17, 17 & 15." What immediately catches your eye here? "Energetic"? All bands say that, even the unenergetic shoe-gazers & after a while it doesn't mean much. "Classically trained"? Certainly, though these days it brings up memories of Yngmie Malmsteen rather than the equally classical Emerson, Lake & Palmer or Yes. "Aged 18, 17, 17 & 15"? Definitely. I hate to say that I'm attracted to a band because of the fact they're all in high school over their musical skills, but when you haven't heard their music yet it's a good way of attracting attention. There's nothing wrong taking advantage of your situation to gain a little attention. There's also a vibe to seeing a young musician gain some success cause we all want to say we saw the next Hendrix in the making. As for the music itself, when you get beyond the PR? Their Myspace, which you can visit by clicking the title of this blog, has one of the most interesting responses to this question I've yet to see: "Influences: "MUSE, Coldplay & all the great masters of classical music. I owe most of them a BJ" & "Sounds like when Bach had sex with Van Halen & dropped their baby off in the Bario." Do I have your attention yet? Do they have your attention yet? Now, getting out of bed & back to the music ... Classical music. Yes, it's here & not in a power metal incarnation but more a la Rick Wakeman in Yes or Jordan Rudess in Dream Theater. Classical piano against a rock guitar background, but definitely classical & not just classical-like sounding. Albeit, at times the angular rock rhythms of some of the songs (i.e. "Nocture For The Fallen" & "Lullaby") creates a jarring disjointed affect of cacophonic melody lines creating something that's neither classical nor rock & more a like a baby being dropped off in the Bario. The rhythm is at times so strong, largely propelled by the bass, that it often verges on something feeling akin to a ska beat - or that's at least what I'm waiting to hear happen - which is not something you typically imagine behind classical piano crescendos. Speaking of bass ... I don't know if these tracks have been mixed but they don't sound like it, which is the only problem with the music. However good their songs the poor mix doesn't accentuate the dynamics that are dying to come through. As a bass player I've come to expect variable volumes within the mix with the bass not very prominent, particularly not being the dominate instrument. Even Billy Sheehan & James Jamerson of Motown are in the mix not dominating it. This mix sounds like all instruments are given equal volume, with not a bit too much on the bass, which not just causes the rhythm to override everything but also doesn't allow the cohesiveness of the band to shine through nor the mood of the songs. & when you hear such lyrics as "she deserves to be happy, she really deserves it ... when you know he is lying" mood is a very important ingredient. Vile's vocals actually relay a mood in and of themselves, as she doesn't try to be the next metal opera chick, we've already got enough unoriginal ones to last, nor turn the songs into a scream fest. With a little better mixing you can imagine her vocals floating across the music as the cord that brings together the rock with the classical & all the polyphonic parts going on. Currently, the songs that work best are those which are less polyphonic but where the instruments weave in an out of the arrangement seemingly more or less together, "Lullaby" being a good step in this direction with it's great one bar drum breaks. "Ashes In The Dust", with its hymnal-esque opening falling into orchestral crescendos, is another strong arrangement featuring group highs & lows, where the polyphony, when it happens, works because it's allowed to breathe & not happen at other times. "Soldier Song" has an unexpected soft vocal & acoustic opening along with some equally unexpected electronic keyboard parts instead of normal piano. It's nice hearing the band play with the sounds of their instruments. "Liar" continues the acoustic theme & the "smoked her soul away ... she doesn't understand how beautiful she really is" disheartening socially-relevant lyrics that Circadian Clock lace through all their songs. This song also features the most experimental arrangement with shouted short lines & music to go with it. I'd actually like to hear Vile's voice a bit more prominent as there's some really interesting emotional observations that are crying out to be given their due spotlight. This is a band that might turn out some surprises as they develop out their repertoire & sound & it's with that in mind that I give their repertoire some extra attention.