Simple Lies - 'Let It Kill'

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Simple Lies - 'Let It Kill'

A straight-ahead, no compromise series of Rock songs which, without being highly original and ground-breaking, safely fit the bill.

Whilst the Italians may love their Prog Rock, their heritage and culture combining beautifully with the romantic and inventive classical overtones of the music, there's no denying they're also well up for a dose of good old Rock (or should that be Rawk) and Roll. And Traditional Hard Rock and Roll is what Simple Lies deliver in spades along the lines of some of the bigger names in the business – Black Stone Cherry, Mötley Crüe, Alter Bridge – all of whom give a decent reference point.

To all intents and purposes, the sound of the album is one which might not be too unfamiliar - the vocals have a familiarity in their strong transatlantic feel carried on top of an urgent guitar led foundation. They recognise the potency of a decent melody line and a chorus which has the sort of hooks which do the job they are written for – maybe a touch formulaic when you listen to things like 'Sunday Morning Apologies' and which sits on the more commercial side; perfect promo video channel fayre though. Close your eyes and you can just see some of these songs taking a retro step and sitting most comfortably in the big haired, Glam and glitzy costumed eighties, all topped off with a pair of mirror aviator shades.

'Miss.Antrophy' sees them toying with some introductory keyboard effects which also invade throughout the song, basically appearing out of place and detracting from the song. Not something the band seem that secure with, maybe just a little experiment to add variety which fortunately doesn't persist.

Thankfully, they have the nous to shift the volume dial and get a tad heavier with songs like 'Past Frames' and 'Symmetry Of Love' although the needle never quite makes it into the zone marked "Metal". It's left to the almost title track 'Let It Kill You' which turns out to be their perfect song, to deliver the goods – a sharp riff giving way to a top quality AOR chorus, possibly the best solo on the record and something which you'd be more likely to hear from Scandinavian Hard Melodic Rock darlings H.e.a.t and Eclipse.

An album with no unnecessary doodling or diversions but a straight-ahead, no compromise series of Rock songs which, without being highly original and ground-breaking, safely fit the bill.

Mike Ainscoe

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