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Audrey Horne has band members from bands such as Enslaved and Sahg, and that has NO importance whatsoever on this review, as whatever my opinion on those bands, actually, Audrey Horne has nothing to do with any of those bands, it is a separate band.
Starting off with ‘Last Chance for a Serenade’, I was immediately unimpressed with the distortion, but about 30 seconds into the song after the weird intro it comes to life, and shows off quite a good hard rock song, which is annoying because another good song has been ruined for me by weird special effects, which a lot of bands seem to be guilty of these days. ‘Jaws’ though is a damn good rocker start to finish, as is ‘Last Call’, although so far the album has been far more hard rock than metal. ‘Threshold’ changes that. The slow, intro is impressively creepy, no special effects here either. Toschie for one is very impressive on this song, almost if he prefers singing powerful songs to rockier ones. With a good melody and strange lyrics, this has to be the best song on the album. Following straight after, ‘Monster’ is too slow, an average attempt at a possible ballad, although ‘After-glow’ is a good melodic song, adding more metal to proceedings, although ‘In the End’ which also tries to do the same becomes repetitive and has been done before. ‘Pretty Girls makes Graves’ is a pretty unmemorable song, with lyrics straight off a band like Creed or Seether. After this comes another slower song, but unlike monster, ‘Bright Lights’ has a decent slow part to it, but is ruined by the latter half of the song, which has a strange shouty part in it which seems out of place, and the song cannot be saved by any amount of melody afterwards. Although I disagree with the rest of the review by ‘olo’, I do agree that the lyrics on ‘Hell Hath No Fury’ do sound very Green Dayesque, even the bounciness to the Song reminds me of them, as if Green Day down tuned their guitars a bit. ‘I wish you Well’ however is the polar opposite, starting off with another strange ‘spoken’ intro, before moving into more heavy pastures, although the lyrics are not brilliant, the song is good and the chorus is probably one of the most catchy on the album. Damn is it good. The album ends with ‘So Long Euphoria’, beginning with a doomy intro, although it seems a bit cluttered at points, although towards the end it seems to come together more.
‘Le Fol’, while not the greatest album in the world, actually there is enough on this record to make this a very good hard rock album, with enough metal to keep most metal heads happy.
Funny how things pan out. Here I am, writing this immediately after giving the new Sahg a good review and this is another hard rock band from Norway which even has a common member with Sahg and the guitarist from Enslaved. This should at least be good right? Wrong.
This is actually the least common denominator contemporary rock that we all strive to stay away from. It's moody alright, and it's often mid-paced and melancholic. It has its hard rocking moments and catchy sing-along choruses. But listen to Bright Lights, what begins as a A Perfect Circle knock-off goes into this mundane and forced metal part before the yelled out jumpy chorus that screams an instant slot at Lollapalooza. Hell Hath No Fury's verses will probably make this your favourite song, if your favourite band is Green Day. Then it goes into this pseudo-goth part and comes back to a staccato palm-muted modern rock part. It's an all-out sonic tour of modern rock.
The album plods along with this Faith No More influenced song called In the End. That's cool, except this is done without the sense of adventure and authority that Patton and Co possessed during their peak. And by the way, four songs into the album and no guitar solos yet. Not even those rhythmic melodies. Jaws' verse sees the band redeem themselves but it all goes downhill from that point onwards. Last Call and Last Chance for a Serenade sound like something The Cult would do, but they have the groove, the amazing vocal lines and the great guitar riffs which is completely lacking here. There's finally a guitar solo and it's pretty clear why there aren't too many of them on this album.
Monster is a ballad that puts them in the same ballpark as your modern MTV small penile rock like Third Eye Blind. And how about Pretty Girls Make Graves, a song that's like a Hoobastank cover of Alice in Chains' Would as the soundtrack for a climatic moment in a chick flick like Garden State? This can't be stated enough, but this has been one disappointing listen barring a few moments, like the guitar lead on So Long Euphoria when he neatly plays a nice restrained melodic solo. Stay the fuck away, don't be fooled by the David Lynch reference and the Enslaved and Sahg connections. If you're indeed liking the album, do yourself a favour and check out The Cult's Beyond Good and Evil instead. That's how you do modern hard rock and what this album hopes to turn out like and fails miserably.
Originally written for http://www.kvltsite.com