Room Experience - ST Album review

There seems to be a small but very dedicated band of Italian musicians that seem Hell-bent on trying to inject life into Melodic Rock and keep the AOR torch burning bright. The guy behind Room Experience (I’ve heard of worse names, but not that many!) , a certain Gianluca Firmo, who is a keyboard player and songwriter, accumulated over 100 songs and decided that it was time to get some of them professionally recorded.

So apart from approaching that bloke who runs a well known Melodic rock label, what do you do? Well back in 2013 Gianluca probably typed ‘Italian AOR’ into Google, and about 6 names appeared – most of them have had significant input in the recording and production of this album. Initially he approached Davide Barbieri (Charming Grace), and Pierpaolo Monti (Shining Line, Charming Grace, Lionville) asking them to produce the album. A singer was needed to give the songs the voice they deserves, so in came the British vocalist of PC69 and Voodoo Circle, the excellent David Readman. He (David) was introduced to Gianluca by the Italian AOR ‘go to’ guy, Alessandro Del Vecchio

Gaps were filled with a multitude of melodic rocks finest – Amos Monti (Shining Line, Lionville, Charming Grace), Steve De Biasi (Charming Grace), being the core foundation, with the likes of Sven Larsson, Ivan Gonzalez, Stefano Zeni, and more joining the Room Experience family

So what do we have? Ill tell you what we have – Room Experience is a melodic rock lovers aural feast.  The keyboards are place at the forefront of Room Experience, and so they should be. Many bases are covered here, from punchy AOR (Shock Me, One Way Out) , to Westcoast ballads(The Only Truth, Only Goodnight), to more radio friendly power and riff based rockers such as the driving with the top down ‘Not Yet Time For A Lullaby’. David Readman gives his all in these songs  and doesn’t appear just a man brought in on a pay cheque to do music by numbers. Because of this the songs have a substance and are believable. Gianluca deserves his time at the front and does so for most of the last song Only Goodnight, before Readman wades in and struts his stuff to take it up a notch on the grandiose scale. But wait……let the song run through and there’s a bonus hidden track to savour.

Good things come to those who wait. For Gianluca, his collection of songs written over two decades, has been a long time coming, but for him in particular the long wait has been a worthwhile one.

If you have a love of tinkly, parpy keyboards, soaring and polished choruses, with a bit of parmeggiano reggiano sprinkled like fairy dust over the whole proceedings then Room Experience is definitely for you.

P.S. A bonus edition exists (probably sold out by now) that includes ‘Only Goodnight’ sung by Readman, and a couple of bonus tracks

SCORE 85/100

ROOM EXPERIENCE is:

David Readman (Pink Cream 69, Voodoo Circle) - Lead & Backing Vocals


Gianluca Firmo - Keyboards, Backing Vocals & Lead Vocals on "Only Goodnight"


Davide "Dave Rox" Barbieri (Wheels Of Fire, Charming Grace) - Keyboards, Acoustic & Electric Piano, Acoustic & Rhythm Guitars, Backing Vocals


Pierpaolo "Zorro11" Monti (Shining Line, Charming Grace, Lionville) - Drums & Percussion

Amos Monti (Shining Line, Charming Grace, Lionville) - Bass


Steve De Biasi (Gunshy, Charming Grace) - Guitars

But that’s not all... Making special guest appearances are:

Alessandro Del Vecchio (Revolution Saints, L.R.S, Three Lions, Shining Line) - Hammond on “Rainbow In The Rain"


Ivan Gonzalez (Secret, 91 Suite) - Guitars on "Another Day Without You", "No Sign of Summer" & "Tomorrow’s Came"

Sven Larsson (Street Talk, Fergie Frederiksen, Lionville, Charming Grace) - Guitars on "The Only Truth"


Stefano Zeni (Wheels Of Fire, Charming Grace) - Guitars on "Queen Of Every Heart"


Boris Matakovic (Human Zoo, Charming Grace) - Sax on "Tomorrows Came"

Elena Aurë (Charming Grace) - Backing Vocals on "Rainbow in the Rain" & "Tomorrows Came"

ROOM EXPERIENCE released their debut album “Room Experience” via MelodicRock

Records/Cargo Distribution on May 22

Tremonti - Cauterize Album Review

Mark Tremonti is the guitarist of modern legend. In the UK he is the 'Riffmaster General', in Germany, 'The Riff-meister,', and in Latin he is 'Riffus Dominus.' I’m not making this shit up. Anyway, I digress….

Tremonti began writing in his Orlando studio in early 2014. Joined by his band, Tremonti penned more than twenty-five songs over the course of multiple sessions. “We wanted to do a ton of songs,” he affirms. “I decided to take my entire catalog of material, get everything out, and purge it. On ‘All I Was’, we couldn’t spend as much time on pre-production. This time, we were able to take the time to tear the songs apart and put them back together so they could become as dynamic as possible. That helped make the new music what it is.”

Emerging from the most prolific period of his two-decade career, Tremonti is actually delivering two successive albums - ’Cauterize’ and follow-up companion album ‘Dust’. With ‘Cauterize’ leading the charge in June 2015 and ‘Dust’ to follow in the not-too-distant future, it’s a one-two punch of modern thrash and melody that has become the group’s signature. Think riffage of gargantuan proportions. Tremonti allows, er, Tremonti to play all the mental stuff he has NEVER done with Creed, and only scratched the surface with in Alter Bridge. Take, for example, opening track ‘Radical Change’, it’s an absolute onslaught of bass, guitar and drums, that will leave you gasping for breath. It’s a song about feeling the weight of the world on your shoulders, something a lot of us can bear testament to. ‘Flying Monkeys’ I’m hoping is influenced by one of my childhood fave movies, The Wizard Of Oz, and it has this low down chugging drawl of a start, dirty and yet with a catchy refrain. Cauterize is a is the burning of part of a body to remove or close off a part of it in a process called cautery, which destroys some tissue (in this case its definitely my ears) in an attempt to mitigate bleeding and damage, so at least the good Doctor knows what he is doing to our bodies in listening to this.

After the collective battering so far, and up to ‘Arm Yourself’ you’re almost praying for mercy. Either that, or a nice ballad! ‘Dark Trip’ is about as light as it gets on the Tremonti scale of balladry. Journey it definitely aint, but it’s a break in proceedings all the same. ‘Another Heart’ is as close as we get to Alter Bridge, more melodic than the rest on offer, such is the case I half expect Kennedy to wade in with the vocals. ‘Sympathy’ if it were on the telly (when MYV used to shoe music videos) a few years back, would be abso-fucking–lutely HUGE. It’s an anthem of stadium size proportions and is my favourite track by far.

Tremonti has a knack for coming up with blistering riffs. Not only that, on from All I Was, his vocals have gone up a notch also. If he doesn’t watch it, sometime soon, he may have to decide if he can keep both Alter Bridge and Tremonti on an even keel, as Tremonti has all the right elements to take them higher, much higher.

I fall into 3 canmps with Mark Tremonti. I couldn’t really abide Creed. I adore Alter Bridge with a passion, and Tremonti (the band) is growing on me with every listen. I liked ‘All I Was’, but with ‘Cauterize’, they have taken it up a notch or three in quality, I think that’s purely down to that fact that they have taken more time with this opus

‘Brutal riffs with a melodic lilt’. That’s how I best describe ‘Cauterize’. Fans of the man, and band will be lapping this up like a metal lovin’ kitten in catnip scented pyjamas. Essential metal listening for 2015

Score 90/100

Tremonti are

Mark Tremonti – Vocals, Guitars

Eric Friedman – Guitar

Garrett Whitlock – Drums

Wolfgang VH – Bass

Michael ‘Elvis’ Baskette – Producer (and fifth member od Tremonti!)

Tracklisting

Radical Change

Flying Monkeys

Cauterize

Arm Yourself

Dark Trip

Another Heart

Fall Again

Tie The Noose

Sympathy

Providence

Thunder - Wonder Days Album Review

Jesus! How time flies. Its six years this year since I caught Thunder on their Status Quo-esque Farewell (Ha!) Tour in Manchester. That night was blistering, and I thought at the time, why do they wanna pack it all in when they are still one of the finest in the business. Lets face it, its not as if they needed to shift more tickets, as Thunder’s cult fan base is legendary. So six years after Bang! comes Wonder Years, I mean ‘Wonder Days’.

Thunder are one of the few that rode the coat tails of late 80s rock and stuck two fingers up to Grunge and plowed on thru the flannel shirt era where 90% of other bands fell by the wayside and shriveled away to a corner to die. Only a few have stuck their heads back above the parapet to see if its safe and have contributed something worthwhile.

Of course, and thankfully, their farewell was short-lived. Excellent tours with Whitesnake and Leppard followed, and it was like they had never been away. If you compare the gap in album releases of ‘Bang!’ to ‘Wonder Days’, to the likes of Rush, and Toto then they never really did leave us!

Anywho, ‘Wonder Days’ sees Thunder return as an absolute tour de force. Just the first few bars of ‘Wonder Days’ makes you prick up your ears as you know you're in for something special. Zeppelin-esque in nature, its 100% pure Thunder once Bowes’ vox kick in and complement the huge Morley riff. Just beware of a litigation coming their way from the lads of Gotthard sometime this week! ‘The Thing I Want’ should be preceded by (hit single) as this ones a whopper that its a cast iron certainty for radio. ‘The Rain’ is a mandolin driven number that has classic Bad Co. running right through the centre of it. ‘Black Water’, stomps along at typical Thunder pace. Their sound and style comes from many other influences but when the backbone is Bowes and Morley, its unmistakable 100% Thunder. ‘The Prophet’ has its roots firmly planted in the 1980 with its galloping riff and Maiden lilt. The song that will ring true to anyone over the age of 40 is ‘When The Music Played’. Bowes sings about the good old days of radio & vinyl, “I held my vinyl like a new born child, memorizing every word, every cover was a window into a far off special world” and then opens up to an overblown level on a grand scale. Thunder usually have a part song or three in their locker, and ‘I love The Weekend’ is such a number. Old fashioned Rock n Roll is something they can do in their sleep, and then some.

To be honest, ‘Wonder Days’ is fucking marvelous and is right up there with Backstreet Symphony. After a few more listens, it could prove to be even better! If you’ve have a preconceived idea about  not liking Thunder, then your life is missing something. For those that love ‘em, or are prepared to give this a good ‘ol listen, then its one of the best albums of 2015, and beyond.

Score 95/100

Tracklisting

Wonder Days

The Thing I Want

The Rain

Black Water

The Prophet

Resurrection Day

Chasing Shadows

Broken

When The Music Played

Serpentine

I Love The Weekend

www.thunderonline.com
www.ear-music.net
www.youtube.com/earMUSICofficial

www.facebook.com/earMUSICofficial 

www.twitter.com/earMUSICedel

Uberkill - 'Sex On A Leash' EP Review

Its cool to be a band with an umlaut on your name isn’t it. Motörhead, Queensrÿche, Mötley Crüe, Blue Öyster Cult all do it for effect and Überkill are no different. At least if you’re going to use a diacritic, make sure it’s a German sounding name. Enough of the lesson lets get to the music

Überkill are a five piece from dat der London comprising of Michael Blackheart (v), Nick Childs (g), Carsten Hoyer (b), Graham Tull (d) and Iain Grant (sg), the ‘sg is not as in ‘Gibson’, but ‘session guitar.’

The EP is back to old skool proportions, 4 tracks, an in yer face as a rock band should be. Christ some bands EPs are longer than albums were in the 70s and 80s. Not the case here. Überkill go for the KISS method – keep it simple stupid!

And that’s what we have here -  straight-forward, good old fashioned rock and roll.  It’s all riff based, punchy and fast with immediate foot tappin’, lip smackin’, head bangin’ tunes on offer here folks!

Rock music that is accessible as this hopefully pays out for the band in question. If you like 80s rock like AC/DC, and some of the later DC models like Airbourne, Bonafide, etc., then Überkill will sit alongside these in your collection with ease.

‘Two Timin’ Woman’ kicks off like a hurricane. Überkill have four chances to grab you by the ears and make you beg and listen, this is achieved less than a minute in, with Blackheart sounding as if he has all the tools of a future thoroughbred rock star. ‘Sex On A Leash’ picks up seamlessly and its like The Hives, crossed with ‘The Ramones’ and has a swagger that only a ‘cock-rock’ tune can do. ‘Feel So Good’ is more groove-laden than the rest and it shows the lads in full flow, full of confidence. ‘Just One Thing,’ has me wanting to rip thru my record collection, as it’s a ringer for something I cant put my finger on. One thing is certain, it has a blistering guitar solo that will have you reaching for your real or imaginary air guitar and I sware you will be pulling off windmills, and deep knee bends in no time.

A lot of bands EPs have songs that would never make the cut of an album. Well there’s no such issue here, all are destined to be parts of Überkill’s bright future. One thing is for certain, Überkill will have you singing into your hairbrush in no time, I'll guarantee it.

Their press release states – ‘We are Überkill and we play rock ‘n’ roll’. As far as Ronseal statements go, this one also has it on the tin.

Score 7/10

Serpentine - 'Circle Of Knives' Album Review

Serpenten anyone?

Anyone into melodic rock in the UK and beyond will have come across Serpentine at some point over the last five years. They started out life with a legend at the helm in Tony Mills (he of Shy and Siam). It was a difficult position to fill for Matt Black, but few singers could hold a candle to the high-pitched Mills, but Black was one such person. Matt jumped ship and is now part of Fahran, and original bassist Gareth Vanstone departed due to illness. Adam Payne (ex-Tidal) and Owen Crawford (Ex-Triaxis) have stepped into the fore respectively

This latest edition of Serpentine headed Oop North to record the album at Gary Hughes’ Doghouse Studio in Blackpool. Serpentine had originally lined up legend Neil Kernon to mix the album, but the sound wasn’t to be what the lads had envisaged, so Sheena Sear who had mixed Serpentines 2 albums, stepped back in to finalise the mix.

If you’re wondering if Gary Hughes has had an influence on proceedings then it’s an indefatigable ‘yes’. Opening track 'Season Of The Witch' sees Serpentine sonically being miles away from Mills pitch, and for me that’s a good sign indeed. If anything you almost have to pinch yourself as Payne has more of a passing comparison to Gary Hughes. Whether that’s the songwriting influence or some layered locals I can’t work out. Certainly it makes a collaboration worthwhile…SerpenTen anyone? Gone is the more AOR sounding style of previous, and in comes a harder melodic edge. 'La Tragedienne' typifies how good they are at songwriting, with a typical hooky chorus and strong riff. 'Forever' kicks you in the head with its punchy guitar riff showing how good a guitarist Chris Gould is, before stepping back for Payne’s vocals, and has Gary Hughes’ influence running through it like a stick of rock (it had to come in somewhere!). ‘The Hardest Fall’ sees Serpentine keep a high line with their tempo before letting it fall back for the slower ballad-type ‘Bleed’. It’s a track that highlights one of Serpentine’s strong points on ‘Circle…’, and that is Gareth Noon’s keyboard/piano playing, but what you also get is some excellent guitar soloing from Gould.

'Where Does Your Heart Beat Now', is a big slice of AOR, and is an example of a band playing at their very best. The fast and frenetic ‘Bound By The Strings Of Discord’ has Roy Millward playing out of his skins (pun intended!). The atmospheric 'Circle Of Knives' has a symphonic opus feel and could be a contender for any or the recent excellent Ten albums. If 6+ minutes passes like a pop single then you know you’re onto a good thing. I was going to say that Payne has a lot less of range than a lot of singers, and then up he pops for the final track 'Suicide Days'. It seems a slight segue to their usual stylings but one that still sounds good.

Serpentine have travelled a long and winding journey since their debut back in 2010. From the high-pitched eras of Mills and Black to the current and more controlled vocals of Payne, I’m sure there’s a lot more to come for these guys. Payne has acquitted himself particularly well into the fold, but for me the plaudits should go to Noon’s playing. All deserve a notable mention, but Noon just shades it.

Score 73/100

Serpentine are –

Chris Gould – Guitars

Gareth Noon – Keyboard

Roy Millward -  Drums

Adam Payne – Vocals

Owen Crawford – Bass

Tracklisting –

Season Of The Witch

La Tragedienne

Forever

The Hardest Fall

Bleed

Where Does Your Heart Beat Now

Bound By The Strings Of Discord

Circle Of Knives

Such A Long way Down

Suicide Days

Whitesnake - 'The Purple Album' review

A few years back I had a hankering to go see my first eve live experience again. That band is Whitesnake obviously; otherwise it would be in a different write-up. Supporting or should I say equal to Def Leppard on the bill at the Liverpool Arena, I had not seen such a poor gig since Schenker’s issue supporting the Scorps a couple of years earlier. Coverdale was poor at best. He redeemed himself more recently on the Journey bill in Manchester where a much improved (?) and hopefully not enhanced version was witnessed.

Over to Coverdale…“People have been asking me for many years to revisit Purple songs like ‘MISTREATED’ & ‘SOLDIER OF FORTUNE’ with WHITESNAKE, but I always felt like I should be writing new, fresh WHITESNAKE songs for the fans.”
 
“In 2012 I was told by a representative of the old PURPLE management that keyboard maestro Jon Lord, who had worked with me in WHITESNAKE, too, had been diagnosed in with cancer and that Jon’s wish on his recovery would be that we put together a PURPLE reunion of sorts. I agreed to be there for him. As we all know, sadly he didn’t recover. After Jon passed away, I felt it necessary to reach out to Ritchie Blackmore to express the grief at Jon’s loss and to hopefully bury any unpleasant hatchets we’d been throwing at other for decades. It was during our reconnect that we discussed the possibility of some kind of a PURPLE reunion or a ‘BLACKMORE/COVERDALE’ project. During the time we were talking, I started listening to our old albums and began working on ideas & new approaches to suggest, rearranging some of our original works.” Unfortunately, our ideas on the reunion aspect didn’t quite gel, so I respectfully withdrew from further discussions, though I am happy to say we did bury old animosities and we have thankfully stayed in touch.
 
It was Coverdale’s wife, Cindy who suggested that he take his ideas & make a new WHITESNAKE studio album celebrating his legacy from his time with DEEP PURPLE. “And that’s how it all happened. I discussed the idea with my musicians & our record company & everyone was very positive. So it was all systems go for ‘The PURPLE Album’.

In writing (in theory), a proposed reunion would have been awesome. Problem is, Ritchie Blackmore is too far into his mandolin-induced coma to snap out of it and do something worthwhile (some members of Rainbow have been trying for years).

I like the idea of revisiting old classics, but lets face it, THEY ARE CLASSICS! So why tamper with the evidence. I suppose if anyone has a right to cover these songs then it should be Coverdale. ‘Burn’ (the album) is my favourite of all the Purple albums, and my son has his orders to play ‘Burn’ (the song) at my cremation! Me and Mk3 (and a little bit of Mk4) Deep Purple go back a long way you see, so is it a loving recreation, a twist on classics, or an unmitigated disaster??

Thankfully it’s not a disaster, but its not exactly fantastic either. I suspect a lot of these songs will be wheeled out later in the year on the UK tour, and that for me alone will be a last chance to bask in Coverdale’s glory and legacy. The album though is a different proposition. When WS metalled up ‘Cryin In The Rain’ and ‘Here I Go Again’ I wasn’t over the moon initially. Yes they grew on me, but the originals outstripped the new pretty much as they do here today.

Burn is almost true to the original, thank God. Beach and Hoekstra combine to fill in the gaps that a twin guitar attack can do. Coverdale’s voice is slightly whiney, but lets be clear here, the bloke is well into his 60s. The Glenn Hughes vocals are obviously missing, but you don’t realize that much to be fair.  The opening few bars of ‘You Fool No One’ (slightly apt) sound as if it’s being covered by Blackfoot. ‘Love Child’ is almost wrong to cover. The vocals are somewhat strained, in part feels like Barry Gibb is covering the song. As I suspected from recent gigs that Coverdale’s vocals are best served on the lower register songs – ‘Sail Away’ & ‘Soldier Of Fortune’ show that the great man can still kick it. ‘Sail Away’ in particular has a nice slant on the original, a stripped back acoustical version which very much suits the 21^st Century version of Coverdale and Whitesnake. He doesn’t go for the screaming of the original, keeping it held back and restrained and is a pleasant surprise. ‘The Gypsy’ is one of the best on the album, and the sound is superb, doesn’t star too far from the ‘Stormbringer’ original. This song alone justifies the re-working, its that good. 

Where The Gypsy represents one of the strongest songs, Lady Double Dealer does the opposite. Then there’s the biggie…’Mistreated’. The song musically is very good. I love the original, the Rainbow version with Dio was stunning, and the Live In The Heart Of The City version is great, but the vocals on the 2015 version are a long way from the original. Coverdale even tackles the Hughes sung ‘Holy Man’. Glenn Hughes could most likely sing this better than the original, so Coverdale’s a brave man for taking on the one of the other big voices of rock. Similarly to ‘The Gypsy’, DC goes for a more acoustic version, before it builds very nicely and to be fair, is another cracking version – one I didn’t expect. ‘ Might Just Take Your Like’ takes on a southern blues style with slide geetar, and when Coverdale doesn’t try to do ‘Still of the Night’ with his voice, is where these songs work best. ‘You Keep On Moving’ is a song that without Hughes, he will always struggle, but the Hughes part is actually filled in nicely – good job done by all methinks. ‘Lay Down, Stay Down’ is another favourite from Burn and sees Coverdale handle all the Hughes parts as well (mostly) and it’s a decent effort. Finally we get to the other biggie, ‘Stormbringer’. This has Coverdale sounding probably as better as he has in years and is a truly fitting way to conclude The Purple Album

Now if Glenn Hughes had been asked to contribute, this would have been a different outcome I suspect…? I think I’m being too critical based purely on where the originals sit with me. Then again, if you’re going to cover classic songs then be prepared for some criticism. Its not all bad, its not all great either.

I’ll leave the final word for Coverdale….“There was absolutely no intention to compete, or compare with the original recordings. We just wanted to play these songs the best we could and this is how we wanted to play them,“ says Coverdale.

Do you know what, he’s 100% spot on. I just hope I can afford the money for the tour in Dec as its not cheap!

Score – 75/100

Whitesnake are -

David Coverdale

Reb Beach – Guitars

Joel Hoekstra – Guitars

Michael Devin – Bass

Tommy Aldridge – Drums

Tracklisting - 

Burn

You Fool No One

Love Child

Sail Away

The Gypsy

Lady Double Dealer

Mistreated

Holy Man

Might Just Take Your Life

You Keep On Moving

Soldier Of Fortune

Lay Down, Stay Down

Stormbringer

Romeo's Daughter - 'Spin' Album Review

 

For every ten bands that have reformed from the 80s era, nine of them have probably been an unmitigated waste of space and time. Few from this ‘83-‘93 period have continued to make a valuable contribution or taken their music forward, rather than backwards or stagnant. One such band that is constantly striving for the best music that they can produce is Romeos Daughter. After their first two albums became staples and highly sought after albums of the melodic rock scene, their reformation was both a surprise and more importantly an undoubted feature with their return to form ‘Rapture’ back in 2012.

The nucleus of the band is still here 27 years down the line with the strings being pulled by the vastly underrated Craig Joiner, sultry Leigh Matty, and rhythm pounders of the highest order in Andy Wells and Ed Poole.

Opening track ‘Touch’ got an airing at the recent HRH AOR 3 festival, and starts off with Leigh Matty’s sultry and sensual vocals. Joiners guitar chugs along underneath before a bridge and chorus that hits all the right places and becomes an instant Romeos Daughter classic and is up there with their very best work.  ‘Already Gone’ is one of those songs that doesn’t make that much of an impression on the first listen, but after a few spins (sorry) its one damn-intoxicating tune. ‘Love Will Come’ has a delicate beginning that builds up to be a powerful ballad. ‘Enemy’ is a track that has one of its feet firmly planted in the 1980’s and sounds the kind of song that would have been used to make a mark in a John Hughes film. ‘Didn’t See You Coming’ sees Romeos Daughter reach for a lighter side of their repertoire, and must be a target for radio play in the near future. Talking of ‘Radio’, this is another that received a debut outing at the recent HRH AOR gig, and immediately hits the spot. A huge chorus that has to be heard live as this version is excellent, but the live version is stunning. Joiners ear for what makes a song is exemplary. He is one of the finest composers out there, and I feel he puts everything he has into each individual song. ‘Perfect Plan’ must be one of the songs written for Spin as it seems to have been around for a couple of years now. When songs are written so early before an alum is released its easy for then to be dropped. ‘Perfect Plan’ has the right mix of power and a chorus that a couple of years later still has the chops to be included. ‘Tall Buildings’ finishes off Spin rather nicely. Joiners playing isn’t pushed to the front, it sits amongst the vocals like an additional harmony, until the solo that is, as he give it some, and then some more! Save (one of) the best until last rings true here.

This isn’t an album that should just be targeted at the AOR/melodic rock brigade, as Spin has a style and substance that anyone with a love for radio friendly pop rock would enjoy. Romeos daughter have a knack of writing songs that are infectious, and every one on Spin is a delight. There some up-tempo rockers, to the more demure and lighter numbers that make up a wonderful contrast. What are you doing wasting your time reading this for, just go out and buy the bloody thing, it’s marvelous. Not only that, its up there with their best work

Catch Romeo’s Daughter on tour with FM in May - www.romeosdaughter.co.uk/tour.php

Score -  93/100

Tracklisting - 

Touch

Already Gone

Love Will Come

Enemy

Didn't See You Coming 

Radio

Tonight

All because Of You

Perfect Plan

Tall Buildings