Here’s one of the most interesting bands of the 2000’s, a band I really hope I get to see live as soon as the fucking pandemic is over. The band started out back in 2015 in Great Britain and took me by surprise with their debut album Too Many Gods where they used Classic Rock as a foundation and then added Pomp, AOR, Melodic Rock, Hard Rock and Pop to the ingredients and by such created a sound of their own even though their influences are spotted here and there. Fast-forward to 2020 and the band has just recently released their fourth record with some major expectations in tow as all of their previous efforts has been nothing short of awesome! Right after the release of the last album Daytrip To Narnia (2019), singer Paul Manzi left the band to join Andy Scott’s Sweet and was immediately replaced by one Mark Pascall who took care of touring duties. However, Pascall only recorded the single “My Kind Of Christmas” before jumping ship and the band now has recruited singer Damien Edwards.
The instrumental intro “Dive” opens the album with some chugging guitar-riffs with an orchestral arrangement on top and it takes us right into the pomp-rock laden pop-rocker “Spaceship Superstar”, an uptempo swinger with its feet in 70’s Classic Rock. It’s a straight-forward tune with vintage sounding keyboards, a contagious groove and some Queen like guitar-sounds. The tune completes its home run when the effective and addictive chorus grabs a hold. Brilliant. “Revolution” picks up the pace and the song goes for a more fast-tracked tempo with chugging guitars, a steady beat and a more Hard Rock laden drive. The thundering bass is all over the tune and with more Queen-like guitar-lines mashed up with guitar-riffs borrowed from Andy Scott’s glory days, the big Sweet-like vocal-harmonies falls right into place. It’s a melodic rocker that holds another massive refrain. Awesome.
With a blend of 70’s Pomp Rock and late 70’s/early 80’s AOR, “Sunday Best” also sends a core of rhythms directly borrowed from The Beatles. Smooth melodies which tattles of an ELO influence and big harmonies goes hand in hand with Cheap Trick power-pop guitar grooves and the piano creates a more Rock ‘n’ Roll structure into the song. For dynamics sake, a slower and mellow passage has found its way into the song as well. Do I even have to point out that the chorus is marvelous? Well, it is. “Listen To The Radio” is, as the title might suggest, a bonafide pop-song albeit with a crunchy outlook. It’s upbeat and smooth AOR with an affection for 70’s pomp-pop. Just for the hell of it, a slight Journey-influence has sneaked itself into the majestic chorus. This should become a single because if this isn’t a hit, I don’t know what is.
The album’s leading (and for now) only single “I Fell Out Of Love With Rock ‘n’ Roll” opens on a slower note as a smooth AOR-like ballad but moves more into a bigger pomp with a Jim Steinman-ish musical theatre arrangement and also brings along a huge vocal arrangement. Mind you, this is not mawkish power-balladry at all, this is a grandiose and quite bombastic rock-ballad that might be on the mellow side but never cheesy. The outro segment of “Yeah Yeah Yeahs” sends a wink towards Beatles’ “Hey Jude”. A phenomenal number. “Marionettes” also starts out slower, with a Pop meets AOR vibe and a massive Sweet influence. The tune goes both heavier and faster with a more in-your-face approach with a driving piano and a spacey synthesizer and after that the song’s structure alters between fine-tuned balladry and energetic, 80’s laden poppy Hard Rock. Great stuff.
“Queen Of The Neverland” takes a turn and sharpen its teeth, pushing the band into a heavier and way more crunchy direction where Hard Rock riffing, chugging guitars and powerful and punchy rhythms meets Melodic Rock melodies and Sweet and Queen influences. The 70’s meets the 80’s in the this straight-forward rocker and holds a brilliantly catchy call and response chorus. Damn good. “Magic Lovin’ Feelin'” brings on a big, crafty groove and chunky beat which carries the poppy AOR melodies and the prominent acoustic guitars. A little ABBA here, a little mid 70’s Hard Rock groove there – and on top shitloads of big harmonies and a massive chorus. What’s not to like?
“Can’t Wait For Tomorrow” starts out on stripped note with acoustic guitars as the base – like a ballad with a groove. Keeping the slow pace with a mellow atmosphere, the band adds a bunch of spacey keyboard and big vocals. It’s still a low-key track where harmony-vocals and acoustic guitar is the focal point. A cozy track with a strong main-melody. Good one. “Seasons Change” also starts mellow and down-beat but soon changes its pace into an uptempo pop-rocker with a slightly progressive input and a main-melody that brings 70’s AOR to mind. There are smooth melodies but it’s also grandiose to the point of being overblown like a musical of sorts. Strong melodies all over, a Brian May-like guitar and a highly catchy refrain makes the tune yet another winner.
The band closes the album in a sumptuous way with the epic title-track. It starts off with a softer arrangement in a slower pace and laid-back rhythms. The tune then changes its structure and gets more upbeat and creates a broad and grand soundscape with a bombastic outlook that includes AOR, Pomp Rock, Prog, Hard Rock and Pop in one. Towards the end the whole tune detonates into a crescendo of big backing vocals, synthesizers and strings which brings more musical-theatre vibes to the album’s equation. As the icing on the cake we get a screaming guitar solo right in our faces in the end of the song which even adds to the intense vibes of this muscular yet fine-tuned rock-musical of a song. Terrific!
After three brilliant efforts, I was wondering when the dip would come but you can all rest assured that it’s not with this record. Style-wise, you know what you’re getting with this lot but never in a million years do they become predictable or comfortable. Ok, so their debut might be their most progressive one and this one is probably their most AOR-laden but it also contains more crunch, heaviness and influences from plain Hard Rock – and symphonic pomp is still as prominent as ever. As musicians, you can’t ever argue that these guys are anything but stellar and when it comes to Edwards, well the guy fits this band like a glove even though his voice might a bit more Broadway than his predecessors. This is a positive album, vibrant and uplifting but also full of emotion and honesty – and let’s not forget that it do has its times of melancholy and mellowness. If you’re already a fan, there’s nothing to think about – go get it – but if you’re not, it’s time to become one. Now.
8/10
More Cats In Space reviews:
Too Many Gods
Scarecrow
Daytrip To Narnia
Tracklist:
1. Dive!
2. Spaceship Superstar
3. Revolution
4. Sunday Best
5. Listen To The Radio
6. I Fell Out Of Love With Rock ‘N’ Roll
7. Marionettes
8. Queen Of The Neverland
9. Magic Lovin’ Feelin’
10. Can’t Wait For Tomorrow
11. Seasons Change
12. Atlantis
CD & Festival reviews 