NMC #70 (ADRENALINE MOB & FLYING COLORS)

[Niels (Mod)]

ADRENALINE MOB - OMERTÁ

1. Undaunted
2.Indifferent
3. Hit The Wall
4. Feelin' Me
5. Angel Sky

From sputnikmusic.com:

Like any good prog fan, I was somewhat disturbed by the formation of Adrenaline Mob. It seemed like a regression on all fronts to have Mike Portnoy and Russell Allen playing in a band with more similarities to Black Label Society than to Dream Theater or Symphony X. Then came the horribly produced Adrenaline Mob EP with the embarrassing "Psychosane" and I was more than prepared to hate the band's next offering. Omerta has all the trappings of a train wreck. A disgraced drummer. A generic, dated style. "Mobster" posturing. Even Nickelback-esque club pandering in the form of 'Feelin' Me.' The ironically titled closer seems like the icing on the cake. But for all the clichés and superficialities, I can't deny that this is a great album, filled with strong hooks and a fun atmosphere that's hard to find in an age where metal purveys little more than doom and darkness.

If you're looking for sophisticated, cerebral prog, this is probably not for you. I've found, however, that the likability of Omerta hinges just as much on guitarist Mike Orlando as it does on the overall style and genre. Orlando's queazy tone and Zakk Wylde meets Eddie Van Halen shred hysterics aren't for everyone. But I, for one, like the intensity of his solos and think that his riffs on tracks like Undaunted, Indifferent, and Believe Me are great. Having listened to his solo albums, though, I'll concede that he didn't really bring everything to the table for Omerta. His colorful influences from Joe Satriani, Al Di Meola, and New Age are conspicuously absent, and this shows in the Duran Duran cover (Come Undone) which eschews the atmospheric quality of the original in favor of a generic, nu-metal backdrop. Orlando takes unfortunate cues from nu-metal in his production as well. Though a significant improvement from the EP, the bass is inaudible at points, and the waveforms rather dynamic-less and clipped; only the intros to Undaunted, All On The Line, Hit The Wall, and Angel Sky yield dips in loudness.

Portnoy, like Orlando, is a mixed bag. He does a relatively good job of holding down the fort, but opted for drum triggers that make those on Images And Words seem organic by comparison. Everything is even, and everything falls sightly behind the beat. Psychosane suffers the most, but this a nuisance throughout the entire record. The undoubted MVP of Omerta is Russell Allen, whose performance builds upon the gruff vocal style of the past two Symphony X records. It's easy to see, given his impressive range and tone, why he's one of the most consistently lauded and respected singers in the history of metal. Even the cheesy lyrics leave him 'undaunted,' and his duet with Lzzy Hale is something to behold.

I won't comment too much on the actual songwriting, because I, even as someone who enjoys the record, will admit that it's formulaic. You begin with a riff (or a pick slide; Mike Orlando loves those pick slides), then jump into a typical verse, chorus, bridge style format. No surprises here, folks. The only track with even a pinch of progressive influence is Hit The Wall, which segues into a slow, sludgy outro similar to Dream Theater's The Dark Eternal Night. The ballads All On The Line and Angel Sky also provide a change of pace from the constant chugging. The latter would have to be my favorite track on the album, featuring a beautiful chorus and some tasteful guitar harmonies from Orlando. Opposite the spectrum of quality is Down To The Floor, which sounds like a straight rip from Nickelback's Dark Horse album. Russell singing "I'm ready to explode" never fails to crack me up.

But in the end, the fun quality proves to be Omerta's redeeming value. I would actually draw parallels to the new Van Halen album, in that, while you get some cheesy lyrics like "stay frosty" and "mousewife to momshell," you get an enjoyable, hook-laden affair that most (unpretentious) fans of hard rock and heavy metal will enjoy. The clichés prevent it from being everything it could have been, but you'll be hard-pressed to find another 2012 metal release that rocks this hard.

FLYING COLORS - FLYING COLORS

1. Blue Ocean
2. Shoulda Coulda Woulda
3. Kayla
4. The Storm
5. Infinite Fire

From sputnikmusic.com:

Aside from the title of Jethro Tull's song, Flying Colors is a brand new super group formed by such progressive rock legends as Mike Portnoy (drums, vocals), Neal Morse (keyboards, vocals), Steve Morse (guitar) and Dave LaRue (bass) who unexpectedly team up with Casey McPherson, a fairly unknown pop singer with an admirably wide vocal range. This line-up has been intriguing from the get-go, which has only aroused sky high expectations for their self-titled album. Fans of labyrinthine progressive techniques of songwriting may be sorely disappointed since the band opts for straightforward, alternative-inclined songs most of the time. Flying Colors, in fact, is a varied album that revolves around the multitude of references including various nods to traditional progressive rock, accessible hard rock or even melodic pop.

While Casey McPherson seems to be the odd one in the group of refined musicians, he truly lives up to the game with his diverse vocal delivery. It's not entirely his fault that the album doesn't quite measure up to the talent involved in creating it. As expected, Flying Colors features top-notch musicianship from every player with numerous flashy moments scattered throughout. However, it's the clearly lacking in consistency song craft that bogs the record down. The disc begins superbly with “Blue Ocean,” a loving ode to the 1970s progressive rock that feels both playful and genuine. The track that follows, awfully titled “Shoulda Woulda Coulda” contrasts the idyllic tone of the opener with a high-octane, driving guitar play that references King's X in its prime. Additionally, McPherson recreates Scott Weiland's falsetto combining it with a hook-driven chorus to startling effect. After these two standout tracks, the album slowly mellows out and thus deteriorates in quality. “Kayla” has endearing verses that build to an overly sappy chorus, while “The Storm” is a forced attempt at radio rock that recalls Coldplay with its tepid arrangement.

Later on, the songwriting continues to be hit or miss interweaving irresistible infectiousness of “Forever In A Daze” and Beatlesque playfulness of “Love Is What I'm Waiting For” with drab, trite and downright unmemorable ballades in “Everything Changes” and “Better Than Walking Away.” The title of the most captivating cut in the clearly inferior second half of the disc goes to endearingly restrained “Fool In My Heart.” This track, which is almost exclusively sung by Portnoy, appears to have an autobiographical undertone that reflects on his break-up with Dream Theater.

Given the collaborative character of the project, it comes as apparent that the record should capture the personal style of each member. Apart from pop tendencies which derive from McPherson's aesthetics, Neal Morse has managed to leave his stamp on the vast sections of the album with his distinct pastoral take on progressive rock. In particular, the splendid opener would feel at home on his religiously themed records. It's a shame that his contribution often had to give way to a simpler, less challenging approach to many songs. With a yawning gap in quality between its highs and lows, Flying Colors might be regarded as an album of lost potential which seems tepid and half-baked, especially when compared to the best work of musicians involved.

http://www.sharesnack.com/F9CA5FD9E8C/au3edqlm

[TageRyche]

I've got Omerta on order so I'll have to hold off listening to it here.

[Jon]

I listened to Flying Colors earlier this week and have to give it two thumbs up. However, the vocals almost crossed into The Darkness territory sometimes. Other than that, not a weak track, love the mix of Dixie Dregs, Yes, Spock's Beard, etc. etc.  

[Niels (Mod)]

The Darkness?? Flying Colors has got three vocalists. Which one of them sounds like the singer from The Darkness?

I think all three of them have good voices. Mike Potnoy almost sounds like Frank Zappa, and Neal Morse has got a great voice, and last but not least: Casey Mcpherson is probaly the best new lead-singer I've heard in a while. 

I really like the album, but some of the songs COULD have been stronger. It does grow on you, though. It's one of those albums, where you (well, I do) find yourself, "playing" the tracks in your head, over and over again.

[Jon]

I'm going to have to check on The Darkness thingy, I was listening in the car and don't recall what tracks they were, but it definitely wasn't track 11!

[RJhog (Admin)]

Adrenaline Mob (Thumbs headed South)

I own this, but I don't like it.  Don't get me wrong, there's a couple of good songs here.  But I'm disappointed for the most part.

Flying Colors (Thumbs Up)

I should have spent the money on this.  This I like a lot.  I was holding off 'cause I knew Niels would pick it up and probably post it.  I can hear what Jon's referring to regarding The Darkness on the second track here, Shoulda Coulda Woulda.  It's just not as over the top as The Darkness.  Nice guitar work and really, nice vocal and all around musical work here.  I will get this this week.

[Jon]

Adrenaline Mob--Thumbs Down

This did nothing for me, sounds like the disposable hard rock making the rounds the last few years. I like Russell Allen, but he too sounds too generic on this album. And please..."Feelin' Me" sounds like it was written by a bunch of 15 year olds.

[Scott]

Flying Colors ...  Two thumbs soaring sky high!

Of all the new albums Ive bought this year Ive yet to come across a dud, and this one keeps the quality level up up up!  Love this, in the running to be a top 3 of 2012 for me..  (so far)