British melodic rockers FM is one of those reunited bands that refuses to just go out on a nostalgia trip and play their greatest hits year after year. Just like bands like Europe, Stryper, Winger, Night Ranger and others, they keep on releasing new music despite the fact that album sales are down in the dumps and many fans aren’t interested in hearing those songs live. I applaud that. FM is also one of those bands that keep the quality of their music sky-high – these guys are not even close to be dated old men with rock-star dreams. Personally, I was never a huge fan back when. The big fan-favorite Indiscreet (1986) is a good album – I actually liked the rerecording Indiscreet 30 better – and Tough It Out (1989) is great. Why that album didn’t sell millions is beyond me. But after that I lost interest. Some of the follow-ups were ok but didn’t really make an impression on me.
At the time, a big lover of both AOR and Melodic Rock (still am), I always thought FM was too light-weight. Too slick. The reason I totally fell for them when they released the follow-up to their come back album Metropolis (2010), Rockville in 2013 was that they now were a heavier and more crunchy Classic Rock band with Melodic Rock undertones. They grooved, they rocked and most importantly, they wrote killer songs – and that has been the case on every album they have released since then. On their last album, Atomic Generation (2018), they talked about going back to their AOR roots – and they did, but not fully. The album still contained lots of the soulful Classic Rock of its predecessors but prior to the release of this record, the word hit the streets that this was the album where they finally had gone back to be a full-on AOR band again. To be honest, I wasn’t all that content with hearing that but on the other hand, the AOR on the last album was great so I wasn’t worried about the quality at all.
The album opens with the title-track and leading single, a tune that opens with a roaring guitar riff, followed by an 80’s sounding synth and then the tune gets going with a beefy Classic Rock groove where Merv Goldworthy’s bass-line really makes the song swing. The vocal-melodies do go into an AOR-laden vibe and the chorus is full of stand-out catchiness. As a whole, it’s a good mixture of Classic Rock and AOR and it works like a charm. I love it. “Superstar” – single #3 – is smoother in sound, almost soft at times, yet the groove is still intense and even though a hooky bunch of pop-melodies lies on top, there’s still that crunchy organ and bluesy bass-rolls that gives the song a Classic Rock touch. The best of both worlds, in other words. Great song – should have been a hit.
Next up is a mid-paced pop-rocker called “Best Of Times”, a smooth and slick number with a slight Classic Rock touch and a souly vibe, very big on acoustic guitars – and a nice church-organ sounding keyboard. It’s a semi-ballad with an enormous refrain and a feel-good outlook and the hit-potential is all over the song. Next single? This is awesome! “The Ghost of You And I” is a slow, soulful and bluesy ballad – very emotional and heartfelt. It sparsely touches on power balladry with it’s broad soundscape and soothing keyboard arrangement that brings on the string-sounds. It’s a cozy song albeit filled with melancholy and it makes for a solid compote. The majestic chorus is the last ingredient to make the song a winner. Brilliant.
Chosen as the second single, “Broken” is an upbeat Classic Rock laden pop-rocker with both an old souly Motown vibe and a big AOR vibe. It’s smooth yet never mawkish and holds an organic groove, lots of hooks, memorable melodies and a direct and very effective and contagious chorus that holds lots of backing vocals and many layers of harmonies. Great stuff. Latest single “Change For The Better” is really a pop-song in a rock disguise – or maybe vice versa? It’s rhythmic and swinging and also grabs a chunk of 80’s chart pop for good measure. It’s an uplifting, feel-good track perfect for hot summer days and while it sure is a slick tune, it never gets sugary – and the chorus is nothing short of amazing!
The rougher edged “End Of Days” sends a darker ambience our way. With riff-happy, crunchy and crispy guitars, a pumping bass and rhythmic groove, the song gives the impression that your living-room is actually a festival area. Also, on top of this meaty rocker lies big keyboards with an 80’s touch that smoothes the sound somewhat but more, it gives an extra dimension to the song. It’s a dramatic, powerful rocker with a slight U2 twist and another chunky, in-your-face refrain. Very good. “Pray” takes the band into heavier territories with a sparky and raunchy guitar sound that together with the edgy organ makes for a dynamic vibe. Soul-laden vocals, a funked-up R&B groove and a blues-rock influence sits together with a smooth and slightly AOR-laden chorus that’s damn catchy without aiming for air-play. Brilliant.
“Walk Through The Fire” dwells on the opposite side of its predecessor. This is more traditional pop-rock with AOR twists all over and a synth that says hello from 1986 that comes in a mid-pace on the softer side of Rock and not a far cry from what a band like Mr Mister could have done back when. That said, it’s also a rhythmic groover on a solid ground, it holds a striking guitar solo and the chorus is catchy-crazy albeit not in a hit-friendly kind of way. A very good song. “Hell Or High Water” is part Tough It Out and part Rockville – AOR and Classic Rock meets here in the finest of symbioses. It’s a striking track with a rowdy groove, heavy with a slicker outlook. The refrain is again resplendent and we have yet another winner on this album.
“Angels Cried” is a Classic Rock ballad, styled in the 70’s, kind of like Rolling Stones with smoother AOR-ish vocal-melodies and a slicker arrangement. It’s both bombastic and groovy but also abstemious at times with a saddening tone. The guitar sound is chunky, there’s an organ and a piano instead of a synthesized sound, there’s a slide-guitar involved and the whole outlook is more beefy. If you call this a power ballad, you’re wrong. It’s powerful, bluesy and passionate – and it’s bloody awesome. FM closes the album on a crunchy, fast and punchy note with the upbeat “Ready For Me”, a song carried by a solid rhythm, edgy guitars and a fat, meaty organ. It’s a crafty rocker, perfect for a live-situation and a spot-on closing track, leaving the listener with the urge to start listening to the record all over again.
A full-on AOR album? I think not. Sure, this is probably the most AOR-fueled record since the reunion got off its feet – something the last album hinted to. But this do not sound like FM’s 80’s at all. There’s still enough of the guys’ Classic Rock and Soul influences kept all over the album, something I reckon they believe is pivotal to their sound of 2000’s. Also, even on the most AOR-sounding tracks, FM do not sound like your everyday AOR band of today – they have their own sound that sets them apart from the rest. With a magnificent singer like Steve Overland onboard, a guy who’s surely majorly influenced by Motown stuff and old R&B, it’s impossible to not stand out from other bands in the same genre. Add to the fact that they refuse to stagnate and keeps moving forward all the time plus they have million-bucks song writing skills and it’s not hard to figure out that it’s not likely a bad album will ever see the light of day from these guys. Add to the list of must-have-albums of 2020.
8/10
More FM reviews:
Rockville
Rockville II
Heroes And Villains
Atomic Genreration
Tracklist:
CD & Festival reviews 