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Antagonizers ATL – Black Clouds Flexi 7″ (Pirates Press Records)

Antagonizers ATL are coming back with the newest single called Black Clouds. This number serves as a sneak peek into their sophomore album entitled Kings, which will be released by Pirates Press Records sometime in early 2021. Black Clouds continues right where the group left off with their debut Working Class Street Punk, released on… Read More Antagonizers ATL – Black Clouds Flexi 7″ (Pirates Press Records)

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Antagonizers ATL are coming back with the newest single called Black Clouds. This number serves as a sneak peek into their sophomore album entitled Kings, which will be released by Pirates Press Records sometime in early 2021. Black Clouds continues right where the group left off with their debut Working Class Street Punk, released on the same recording label in 2016. Right now, more than ever, these Atlanta-based punk rockers are gearing up to deliver another remarkable recording, stacked up with a desperately needed positive mental attitude in these troubling times.

Black Clouds showcases tremendous progress in the sound of the group. The essence of their music remained the same, but this composition brings some innovations to the table. Besides characteristic robust four-chord progressions and confidant drumming performance, Antagonizers ATL freshen up their sound with even more delightful melodic themes, which are continuously pervading the atmosphere throughout the entire song. The appropriate amounts of distortion fired by rhythm guitar are liberating enough power not to spoil these subtle melodies, so there’s plenty of room for entertaining maneuvers presented by lead guitar.

What I really like about this number is the presence of the bass guitar in the mix. Omnipresent basslines are enhancing an overall listening experience with compelling low-end tones, perfectly paired with guitar dualities. The rhythm section keeps it in the moderate tempos, but with enough accentuations and drum fills to maintain this particular segment more interesting. Besides some standard lead singing duties, Antagonizers ATL are also including powerful singalongs, which are delivering a sort of a pub atmosphere throughout the entire number. Each vocalist has its chanting segment during the verses, while the choruses are solely reserved for uplifting singalongs.

The lyrics are offering words of encouragement in the times of global downfall, caused by a neverending pandemic. This song keeps your chin up and forces you to move forward. Black Clouds has a certain rock’n’roll vibe, empowered by some traditional street punk/Oi acrobatics. This number possesses all the qualities of a classic street punk music, but it keeps on surprising with every upcoming sequence. It also gives a bit of a taste of the latest material by the Antagonizers ATL, which you will await with great anticipation after you hear Black Clouds. Head over to Pirates Press Records and give it a spin.

Source: thoughtswordsaction.com

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The Struts master the classic rock arts on third album Strange Days

An instant rock-down classic from The Struts on third album Strange Days (as long as you ignore the title track and Robbie Williams)

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In the realm of classic rock, authenticity is everything. There’s a very thin line between homage and pastiche, particularly when it comes to pomp-rock and glam-metal, to which our cultural radars are laser-tuned. The likes of Queen, Def Leppard and AC/DC might be struck through with a rich seam of humour, but when emulating them any hint of tongue approaching cheek sets off The Darkness alarms. 

This genre is appreciative of tribute, but wary of mockery. Derby’s The Struts judged the balance sufficiently well to become a minor US rock sensation with their first two albums, Everybody Wants and Young & Dangerous

Their hints of a modern synthetic tone and contemporary beat are in keeping with the commercial gloss of much of 80s hair-rock, but their 2018 remix of Body Talks featuring Kesha revealed a more cynical crossover eye.

Our advice is to forget the title track exists, start the album on the second track, the glam AC/DC All Dressed Up (With Nowhere To Go), and enjoy a record of instant, solid-gold riff-rock classics. 

Air-punchers abound, steeped in roadhouse gristle, steamy tales of women sexed and lost, and the sort of multi-tracked chant choruses that saw a million tiger skin legging-wearing heroes narrowly escape death by pyro in 1986. Leppard’s Joe Elliott and Phil Collen even show up in person on stomp rocker I Hate How Much I Want You. Authenticity restored.

The Struts have clearly mastered the classic rock arts, be they glam-metal (You Love Me) or roots Americana (the sublime, grainy Burn It Down, all lolloping guitars and bar-room piano). 

Luke Spiller has a massive monster truck voice, and guitarist Adam Slack can make his solos sound like construction workers doing Cirque de Soleil stunts from their cranes. 

Where they transcend homage, though, is in welcoming the influence of their guest stars: The Strokes’ Albert Hammond Jr. helps turn Another Hit Of Showmanship, a smart rewrite of the fame-as-drug metaphor, into a new-wave surf smash, while Tom Morello steals the show with a voodoo-rock turn on Wild Child, dripping seditious sleaze. And that’s how you silence the Darkness alarms.

Source: loudersound.com

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Tyler Bryant & The Shakedown’s Pressure is a true coming of age

Backed into a corner in the fourth round, Tyler Bryant & The Shakedown come out fighting on Pressure

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Recorded in his basement under lockdown, with the band down to a three-piece (Tyler Bryant played bass himself), this album could have been lowkey. 

But no. It began as one song – the upbeat Crazy Days – recorded in response to the pandemic flipping the world upside-down, grew into an EP, and emerged as a fully-fledged fourth album. 

By turns heavy (Pressure and Fuel), bluesy (the barbed-wire slide-filled Hitchhiker) and funky (Wildside), its palette of styles is richer than on previous records.

Okay, Automatic echoes early Aerosmith, Misery follows Nazareth’s take on Woody Guthrie’s Vigilante Man… but even the bluesy Loner and the T Bone Burnett-style acoustic Coastin’ sound fresh. 

Three songs feature Bryant’s wife Rebecca Lovell (of roots-rock duo Larkin Poe) on vocals, and Blackberry Smoke’s Charlie Starr sings on Holdin’ My Breath, but it peaks with the poignant, soul-searching beauty of Like The Old Me. Bryant has truly come of age with this record.

Source: loudersound.com

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The spirit of rock’n’roll lives on with Tommy Lee’s Andro, if not its music

Expecting Shout At Devil? Better look away from Tommy Lee’s Andro now

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This record will have many Mötley Crüe fans screaming in terror. Because anyone expecting Looks That Kill or Kickstart My Heart is in the wrong hallway. 

Lee has never done the obvious on his solo albums, and Andro is no different, with hardly a trace of the hard rock with which he made his name. 

Instead he mixes rap, Afrobeat, electronica, pop and dance, and in a way that really works. Let’s be honest, were it not for his name there’s no way this album would even be considered for review in Classic Rock

And apart from a respectful cover of Prince’s When You Were Mine there’s little that links this Tommy Lee to the Tommy Lee behind the Crüe kit. But that’s the point.

Working with rappers and like-minded vocalists, he has created music that deserves everyone to put aside prejudice and listen.

Source: loudersound.com

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