Hardcore Superstar - 'You Can't Kill My Rock 'N Roll' Hot

Added by Central Electronic Brain     November 27, 2018    
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A feisty combination of Thrash and Sleaze, and they certainly encourage you to sing-along while they do it.

It would seem that merely by releasing album number eleven, Hardcore Superstar have proved that you can't kill their Rock 'n' Roll. Luckily for their fans – and those of you not yet converted – they've kept up their musical prowess and not just their prolific writing.

'ADHD' quickly kicks into the band's headlong, in-your-face, two-fingers-up approach before guitarist Vic Zino motors into 'Electric Rider' with the twisted, gnarled vocals of Jocke Berg roughing up a catchy, melodic chorus that has plenty of bite to the guitar; it's a spectacular track! There's a fistful of anthems on this release, the likes of 'Hit Me Where It Hurts' opening with a twisting guitar riff before marrying punchy lyrics with delicious Zino licks. It's got one of the album's better solos and the sort of great, groovy bass line we've come to expect from this outfit – Martin Sandvik never steals the spotlight, but he also never leaves you wanting more depth.

The title track is funky with an anthemic chorus (just so you know when to jump about at the gig), while 'Have Mercy On Me' and 'Bring The House Down' are both snappy offerings, the latter stacked with layers of sleazy backing vocals. Zino sails in on a beautiful opening to 'The Others', which sits over Adde Andreasson's street-style drum intro, before a fat rhythm section then leads the way with Zino crooning in contrast; the creepy laughter at the end is just so Hardcore Superstar!

'Never Cared For Snobbery' keeps up the big drum riffs, while Zino shows off oodles of attitude as he weaves in and out of Berg's vocals; there's a great, unpredictable melody twist in here too. It's not super catchy but it is fun, the vocals screaming out "won't cut my hair, oh hell no" says it all really! 'Baboon' has a big, echoey sound, it's punky with Rap-style vocals, whereas 'Medicine Man' has a heavier, darker feel. 'Goodbye' is, to be blunt, emotive with ghostly backing vocals, a sense of anticipation and a weirdly major tone swirl around the words "we know what we must do... goodbye to all of you" – I hope this isn't an omen.

Overall, this album's not as heavy as 'Dreamin' In A Casket' nor is it as catchy as the black self-titled release, but they clearly haven't lost their sense of fun; it's a feisty combination of Thrash and Sleaze, and they certainly encourage you to sing-along while they do it.

Sophie Brownlee

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