Fireworks

Graveyard - 'Lights Out' http://www.rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/13/96/ae/3319_graveyardlightsout_1361402955.jpg Hot

Added by Central Electronic Brain     February 20, 2013    
 
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New album by the Swedish band.

I admit, I had never heard anything by Gothenburg’s Graveyard until this CD slipped through my letterbox, and judging by the name and the ‘none more black’ album cover I was expecting some Black Sabbath style doom-laden metal. And while there are hints of Sabbath, there is a lot more to the Graveyard sound than I anticipated, as it’s a pure Seventies throwback, with bags of energy.

Deep Purple are clearly a big influence on Graveyard, evident on ‘The Suits, The Law & The Uniform’, the rampaging yet psychedelic ‘Endless Night’ and opener ‘An Industry Of Murder,’ which adds a twist of Hawkwind-style Space Rock, while the fiery ‘Seven, Seven’ has some highly energetic Ian Paice style drumming from Axel Sjoberg and scintillating guitar from Jonatan Ramm. The melancholy ‘Slow Motion Countdown’ with its subtle orchestration and ‘Hard Times Lovin’’ hint at a blend of The Doors and Pink Floyd, with serene soulful passages and passionate vocal delivery from Joakim Nilsson, who demonstrates an impressive range. ‘Goliath’ leans towards Black Sabbath, while ‘Fool In The End’ is probably the most commercial song on offer, and the album closes with the slow-burning psychedelic ‘20/20 (Tunnel Vision).’

Fireworks - The Ultimate Magazine For Melodic Rock Music

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The album has been recorded entirely in analogue, which gives that authentic, fuzzy Seventies feel – I played Deep Purple’s ‘Machine Head’ immediately after this album, and the similarity in sound is uncanny. Although there are plenty of references to Deep Purple and the other aforementioned artists, and also nods to other Seventies stalwarts like Led Zeppelin and Free, Graveyard still very much have their own identity. At only nine tracks and just under forty minutes it’s a little on the short side, but that seems to be a facet of many albums these days, and quality is better than quantity – and there are no bad tracks on this album, but it actually works better as a whole rather than selecting individual songs.

Out of all the CD’s I received for review for this issue*, this is the last one I played due to my apprehension about the musical style, but as it turns out it’s probably the one I’ll come back to the most.

Ant Heeks

(* Fireworks Magazine #55)

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