Beautiful Crutch – Album Review

American alternative rock band Dommin released their third studio album Beautiful Crutch last year and, with the promise of a darker yet more hopeful vibe after their somewhat downbeat previous efforts Rise and Love Is Gone, this looked like possibly the start of a new era for the goth/new wave metal group.

The first track, “Desire”, opens with a screech before settling into softer, melodic verses and occasionally building up to the rockier chorus. There’s a very good guitar hook keeping the song balanced throughout and a short but effective solo near the end. The vocals by lead singer Kristofer Dommin are passionate and bring a welcome edge to the song. “Show Me” is the first killer track of the album with its faster pace, its bluesier tone and its ridiculously catchy chorus. This is definitely one to open concerts with as it’s instantly recognizable and kicks butt no matter how picky you are with your music.

“The Scene” is next and it’s a solid, reflective, dramatic song with a stuttering rhythm, an emotional chorus and some clever breaks here and there. It’s also very catchy and another very concert-friendly tune for sure. It is followed by “This World”, which instantly evokes The Smiths with its darker lyrics and the Morrissey-esque vocals. It’s still very much a Dommin song, however, as it’s certainly heavier than anything the aforementioned artists ever did.

Then we have the title track “Beautiful Crutch”, a slow-burn where the vocals and the lyrics initially take centre stage before the rest of the song finally unveils itself through an evolving melody that gets catchier and catchier as it goes on. It’s certainly worthy of being the title track. “I Die” is a softer, darker and rather beautiful song about loneliness, loss and longing with a rockier chorus and a short but sweet guitar solo halfway through.

Song number 7 is “Vulnerable”, which opens with a faster beat and a melody slightly reminiscent of Blondie‘s “Call Me” but with a significantly moodier, more emotional vibe. The song somehow gets more hopeful and upbeat as it goes on so its constant evolution plus the catchy chorus make it never dull. Then comes “The Flame” and, right off the bat, this is a completely different animal altogether. With its violins playfully marking the rhythm and its musical-style vocals, this is an experimental track which tries something rather unique by mixing a couple of very different genres, similarly to how Muse went in a different, glammier direction with The Resistance.

It’s still a rock song, though, so don’t expect it to be so different you’ll be thrown.

“Madly” is another fun track. This one banks on its catchy, upbeat chorus but its real strength is the melody that permeates the verses. This is definitely one of the most commercial songs on the album but its radio-friendly nature is never off-putting. “The Saddest Dream” has a slow yet compelling build-up with an electro heartbeat marking the rhythm. You keep expecting it to suddenly rock out but it teases you until much later than you’d expect and it’s altogether a surprisingly epic track which should play really well at concerts, even an extended version with added solos and breaks. “Madly” takes its sweet time and is all the better for it.

Finally, we have “Outer Space” and it feels like the end track from the first minute with its airy, upbeat tone. This is basically a soul track with a bluesy tint which might not please fans of Dommin’s moodier, edgier stuff but after an album this strong, it’s certainly earned its final flight of fancy plus the vocals are top notch from start to finish and the proudly 80’s feel is enjoyably nostalgic.

There’s very little wrong with this new Dommin album: the songs are all well written, the vocal work from Kristofer Dommin is versatile and would even make Scott Stapp jealous at times, the whole thing is paced perfectly and the music itself is really good: you can tell there are genuinely talented musicians behind every track so Konstantine (keyboards), with the help of Cameron Morris (drums) and Billy James (bass) knock it out of the park. There are enough trademark motifs in the album to please the band’s long-time fans but also enough fresh ideas to bring in a new audience so I certainly recommend you try this album whether you think you’ll like it or not because, chances are, you will.

Beautiful Crutch is a very cool album which gets 4 Ziggies out of 5 from us and one hopes to see Dommin get bigger and bigger because they deserve it.

You can find out more about Dommin on Soundcloud and their Youtube Channel.

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Hey Stoopid – Song Of The Day

Hey Stoopid

The title track from Alice Cooper‘s 1991 album Hey Stoopid certainly has a lot going for it: a silly, instantly memorable title, cameo appearances by Slash and Ozzy Osbourne, who provides some backing vocals on the song, but also a reliably absurd and fun video. It was the most successful single on the album and it’s easy to see why.

Check it out, stoopid.

Big Bottom – Song Of The Day

Spinal Tap

One of the many memorable musical masterpieces to come out of classic mockumentary This Is Spinal Tap was “Big Bottom” by the iconic pseudo hard rock band Spinal Tap. The performance in the film sees guitars slapping Christopher Guest‘s butt, Harry Shearer rocking a double neck guitar and Michael McKean excelling at singing about rear ends like no-one else.

This is, indeed, Spinal Tap.

His Eyes – Song Of The Day

His Eyes

Released back in 1984 in the album Autumnal Park, the song “His Eyes” famously appeared in the movie Friday The 13th Part V: A New Beginning as one of Jason Voorhees’ victims dances along to it before her inevitable demise. It’s a cool dark glam tune with a fun electro beat and a gothic vibe throughout courtesy of Australian new wave band Pseudo Echo.

Far Side Of Crazy – Song Of The Day

Far Side Of Crazy

From Wall Of Voodoo‘s album Seven Days In Sammystown comes “Far Side Of Crazy”, one of the band’s most recognisable tracks. Released in 1985, the song combines a typically 80’s New Wave beat with a catchy, surprisingly 90’s chorus and Western-style backing melodies, the cowboy movie theme being one of Wall Of Voodoo’s most lasting references. All in all, this song’s not only a lot of fun but it should make you curious enough to go and look up what is definitely an underrated band.

Walking In L.A. – Song Of The Day

Walking In LA

Bit of an overlooked band, this one. Which is a shame because Missing Persons‘ unique blend of new wave glam, pop and rock really is a lot of fun to go back and rediscover. One of their most memorable songs, “Walking In L.A.”, may not have been a number 1 hit or anything but it was catchy as hell, rockier than a lot of their other tracks and helped make their performance at the US Festival back in the day that little bit more awesome.

Underrated.

Foot Of The Mountain – Album Review

Foot_of_the_Mountain_Album

A-ha‘s very last full length album before they split in 2010, Foot Of The Mountain promised to be a return to form for the band whose recent work, despite the odd cool song here and there, failed to match their quality 80’s stuff.

Even with their better recent albums, there was always an unevenness about them which took you out of it at various points. For every catchy hit there were five forgettable attempts at a catchy hit.

Can Foot Of The Mountain help A-ha end on a high note, at least?

Singer Morten Harket’s famously good at those, after all.

The album opens with “The Bandstand” and why that one wasn’t released as a single is beyond me as it’s clearly the best track on the album and really sets the wanted tone of the whole thing by feeling like classic yet also modern A-ha. It’s a clubby synthpop tune and a catchy one at that so definitely the perfect starting point. It is followed by the infinitely more upbeat “Riding The Crest” which isn’t bad despite its main hook sounding a lot like an extended ringtone.

“What There Is” is next and slows things down a little with a more paced beat and a longer build up. It’s another very decent, simple electro track with a memorable, softer chorus. It has that nostalgic tone which a lot of older A-ha songs had and a pretty melody so that’s good, at least. It is followed by the title track and lead single “Foot Of The Mountain” which starts off promisingly with nicely melodic verses but the chorus it delivers is sadly anti-climactic. Still, it’s an overall enjoyable, chilled-out track.

“Real Meaning” is song number 5 and it is a softer, cheesier effort. To be honest, it’s very easy to space out during this one. It’s the first dud on the album and is entirely skippable even if it is basically harmless. Another slow track is “Shadowside”, which was released as the album’s third single but, although its build up is a bit soporific, it makes up for it with a genuinely pretty chorus. With a little more energy, this track could have been much better but, as it stands, it’s ok.

Track 7, “Nothing Is Keeping You Here”, another single, starts off sounding a bit like Harry Nilsson‘s classic “Everybody’s Talkin'”. This one is let down by some much too easy lyrics which beg for more thought and imagination. Otherwise, it’s got an alright (if a bit sleepy) chorus and a slightly faster rhythm than the two songs preceding it. The stuff that inspired Coldplay is much more obvious in this one in that it’s… well, rather dull. The album, by this point, is definitely stuck in a lull, though. Another song which suffers from unimpressive lyrics is following track “Mother Nature Goes To Heaven” but, luckily, this is a far better song with a decent hook, a nicer chorus and a build up that actually works pretty well. The song develops at a good pace and, even though it would have been amazing had it been a bit darker, it’s a step in the right direction for the album.

“Sunny Mystery” is a dancier track and more of a departure from A-ha’s usual style but not in a bad way. It’s actually an entertaining song with a nice atmosphere to it, even if the hook is a little weak this time, again sounding close to a ringtone. Finally, we have “Start The Simulator” and it’s a strangely slow one to end on. On the plus side, the slightly sinister ballad has a weird Twin Peaksian quality to it in places (with a Radiohead-style vibe) but the hook is more reminiscent of Big Ben and it kinda goes off track sometimes. It’s not too bad though, it does grow on you.

So was Foot Of The Mountain a worthy album to end on?

Kind of. I mean, it’s in no way as good as A-ha’s earlier stuff but this is definitely a return to form of sorts for the band. While Analogue provided a couple of genuinely good songs but not much else, this one is much more consistent and does include at least a handful of decent tracks with only a couple of misfires.

Foot Of The Mountain is by no means a masterpiece but fans should lap it up and be satisfied enough with it.

3 Ziggies out of 5 ain’t bad.

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