One of my main objectives of running MR over the years is to give a voice to independent artists who otherwise might fly under the radar of potential fans.

Seven Ravens is a self-funded, self-recorded, self-released album featuring guitarist/producer James LePack and songwriter/producer Scott Bazzett – the very definition of an indie release, but one that demands your attention.

No expense has been spared on this record, with powerhouse vocalist Michael Bormann hired to sing, Matt Starr is on drums, the album was mixed by Pete Newdeck and mastered by Harry Hess. Also on board is the always brilliant Tony Franklin on bass and Bobby Jarzombek on drums.

Over the years I have seen names brought into a project to cover up inadequacies within, but the sum of all the names involved here only enhances what is already a monster base.

This is a big sounding hard rock record, in the traditional American sense, Bormann singing like the legend he is, but the album is founded on a huge guitar sound and a really tough production, putting it into the quality of material a major artist might be proud of.

The songs aren’t necessarily instant, but they are there, and repeated listens uncover those layers and melodies and also unlock so much more riffing!

This is a record for fans of classic Dokken and heavier Jaded Heart, with all bases covered as far as production, mix and even packaging. It’s a class release from top to bottom.

https://www.rathole.com/7RAVENS/

The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.

Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.

However, the two records could not be more diametrically opposed.

Toto vocalist Joseph Williams’ new album Denizen Tenant is everything Lukather’s album is not. It was carefully and meticulously produced over several months, with the production so sharp, there isn’t one note out of place.

It’s a well-crafted record that features some sublime arrangements and is every bit as polished as a full Toto release. With appearances across the record from Lukather, David Paich, Simon Phillips, Leland Sklar, Lenny Castro, Nathan East and Mike Landau alongside percussionist Lenny Castro.

Opening with a song that could easily have come from either of Toto’s two recent albums with Williams, the lush and sultry Never Saw You Coming is pure mature Westcoast/AOR which leads into the brighter Liberty Man, which is as Toto as you can get.

The title track is pure westcoast/jazz/pop and layered with vocals and rich instrumentation. It’s everything fans love about Joseph Williams throughout his career and if that song doesn’t get you, then the out of the box Wilma Fingadoux will.

Another highlight is the Steve Lukather driven Remember Her, layers deep in keyboards, guitars and percussion.

A couple of dreamy, somewhat eclectic tracks follow before another Lukather guest spot on the simple two-and-a-half-minute pop song If I Fell.

The more lengthy World Broken closes the album in a similar fashion to how it started. Rich, textured and lush melodic rock with a touch of Westcoast AOR and Williams providing another world class vocal.

And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.

I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.

Both albums may be best enjoyed at different times and for different moods, and depending on tastes, on different levels. But the talent behind both is clearly evident.

Sweden’s Reach have straddled the line between classic rock and modern melodic rock for their first two records, but album number 3 sees them go completely overboard…or completely AWOL. Take your pick.

Gone are any anchors to the traditional melodic rock sound, with the band fully embracing modern experimental rock, with touches of electronic rock (Muse), pop (Coldplay) and falsetto rock (The Darkness). Add in the most flamboyant aspects of Queen’s experimentation with pomp-rock and some 70s symphonic ELO and you might get some idea of what’s going on here.

I have tried and tried and tried again with this album, but its not for me. And I think for those that followed the band as they trod a similar path as One Desire, Palace, Wildness and the like will probably find this album too ‘out there’ to appreciate.

There are some lush orchestral parts to the album, almost symphonic in the elaborate production and the layers of programming included. To the perfect audience, it is a really well-made record.

The guys have made a clear determination of their musical path with this record and it’s not 80s rock. For that reason, they might find themselves picking up a completely new fanbase – ones with an appreciation of modern commercial alt-rock and retro rock acts like Cats In Space. I’m not sure how many fans of the first two records will follow them into their third.

You have to admire the lads for their bold musical exploration here. But they aren’t The Darkness or Muse and I was personally thankful for that.

Their bio now describes themselves as an alternative rock band. Fair play to the guys, but I’m not a fan of alternative rock.

I can’t recall the last time I heard a single album so packed with obviously over the top 80s melodic rock anthems. The songs, the production come from Crazy Lixx frontman and key songwriter Danny Rexon and the heavenly vocals come from Chez Kane, the British sensation who wasn’t even born before the glory days of hard rock were fading.

Through her group Kane’d and some attention-grabbing YouTube covers, she was a star on the rise until the inspired pairing with Rexon hit paydirt.

This is a powerhouse album is a throwback to the mid-late 80s where Def Leppard, Winger and Vixen all ruled their airwaves. And taking inspiration from the latter, this album sounds like a natural successor to the amazing Vixen album Rev It Up.

This is 47 minutes unadulterated, hands in the air fun. There’s no attempt here to reinvent the wheel, rather it is a vehicle to steer those wheels right back in time.

To say that Chez Kane can sing is to say yes, Eddie Van Halen can play guitar. I’m a big fan of bands pushing this genre forward and have championed many of the bands that do so. But sometimes you like and need to dive back into the favourites amongst your collection. With this album you can jump back without leaving 2021.

This album is everything that we loved about the stadium rock of the 80s, with all the energy of a big production and a healthy dose of keyboards and guitars, plus a thumping rhythm section.

Great fun songs with big choruses, harmony vocals and some inspired vocal melodies makes this a true 80s album without sounding like it was trying to be an 80s record. It just is, and credit should go to all.

If there was to be one essential female fronted album this year, then here it is folks. Utterly essential!

I love these guys. The French duo of Frédéric Dechavanne (songwriting, vocals, keyboards) and Sébastien Montet (songwriting, guitars, keyboards, background vocals) have now created 3 great European melodic rock albums. Their last was so good I put it out on my old MRR label.

Now with AOR Heaven, I’m pleased to say that the guys have further upped their game. Once again featuring the same team as the last album - Steve Newman (production, mastering, backing vocals), Dave Bartlett (bass, backing vocals) and Rob McEwen (drums), 50/50 is an album filled with catchy and memorable AOR songs, mixing keyboards and guitars equally in a way only the Europeans seem to be able to do.

It’s old school sound with a snappy, up to date production. Largely an uptempo record with plenty of layers of music, the guys retain a strong connection to the music of Newman, the production values are very similar and the vocals of Frederic, while quite unique, are shaped by Newman’s influence.

If you’ve heard the guys before, this is a no brainer. Stronger guitar riffing and literal multi-layers of keyboards are backed with a powerful rhythm section, which some acts often cut corners with. Not here – this is a powerful sounding record.

Its also drenched in melodies and harmonies, so if the European style of AOR/melodic rock is something that appeals, I recommend checking out Paris right now.

Bite The Bullet were originally formed in 1986 by singer songwriter Mick Benton and drummer Graham Cowling. The music played was in the style of Foreigner, Toto and Mr. Mister, an album was released in 1989 to some quiet success. In 2020 Mick and Graham decided to get writing new material for a second “Bite the Bullet” album.

It is available now and I must say it is a joyous soft melodic rock affair. A real pleasure to listen to. I’m finding comparisons hard to draw from, which to me is a sign the guys got it right.

I’m so tired of everything sounding the same, with only vocals differentiating one project from the next.

Black & White is a pure British AOR album, drenched in keyboards, but still driven by guitars and strong, unique vocals.

It’s a totally 80s sounding affair, yet a decent production keeps the sound in today’s realms.

There’s some Midwestern influences, some pop/AOR and straight up melodic rock amongst the albums 12 tracks. If you like real Bryan Adams, Heartland, Van Stephenson, Mr. Mister…give this a spin.

Finland's Temple Balls have really kicked up the dials for album number 3. This is a fast moving, kick ass, tour de force of melodic hard rock, easily blowing away their first two efforts in terms of songwriting, production and performance.

This album compares favorably with the most recent HEAT album and also classic Gotthard alongside old classics like Motley Crue, Kix and LA Guns.

It has that European hard rock feel, but a monster production effort from HEAT's Jona Tee has the band firing on all cylinders and there is a lot of HEAT at their heaviest in the new album's sound. Tee also produced the band's last album and played on the debut, but this is head and shoulders above all that came before it.

It's an all-guitar high energy attack from the opening riff with vocalist Arde Teronen really driving the melodies home.

The wonderful pure AOR voice of Robbie LaBlanc is back in focus under his own moniker after a few recent project outings.

This album is described as a 70s and 80s pop/rock affair and I think that’s fairly accurate. There’s some pure commercial 80s AOR, some 80s pop, some more soulful 70s pop and a couple of songs with a heavier bluesier edge.

The album is controlled musically by Tommy Denander (all guitars, keyboards and co-production), so you know the sound/production style you are getting right there. The majority of the album has that programmed feel, drums are credited to a “Michael Lange” (his only other credit is on the last Robert Hart album with the same production team), they don’t sound live to me.

Steve Overland joins in for backing vocals throughout and his contributions are always welcomed. Second track Start The Motor Running has him all over the song. The super smooth My Lips Are Sealed stays in my mind after playback.

Other highlights include the opening anthem Only Human and Good Time plus the heavier track Temptation.

I love Robbie, but I prefer his recent appearances on East Temple Avenue, Find Me and the sublime Cannonballz album.

Fans of Radioactive and the Denander sound will appreciate this and the vocal quality of LaBlanc raises the overall quality of the songs.

Italian power/progressive metal outfit Secret Sphere return with their 9th studio album since their debut in 1997. Quite a feat considering how many bands come and go in just half the time the band has been active. This album sees the return of vocalist Roberto Messina to the fold, whom fronted the band from 1997 – 2012.

To be honest, I’ve overlooked these guys apart from an occasional glance, but Lifeblood has got my attention.

To be spoken of in comparative terms to Dream Theater for their prowess, or Masterplan for their power gives you a decent indication of what’s happening here.

Production and mix are both flawless and give the energetic songs their best chance to shine.

Vocalist Roberto is a powerhouse without sign of a heavy accent, giving the band a true international flavour and at 10 tracks clocking in under 50 minutes in total, there are only room for 2 longer tracks here, the rest get to the point fairly quickly. That means you’ve got hooks and progressive noodling competing for time, which is a winning combo for fans of a great song.

Its fast and sometimes furious, the double kick drum gets a real beating, but with strong vocals and an emphasis on melody, Lifeblood makes a big play for one of the best metal albums of 2021.

Masterpieces don’t come around too often, nor do albums that push the glacial boundaries of what normally defines the AOR/melodic rock genre. This album is everything I love about melodic and heartfelt music, wrapped up into a contemporary package that will appeal to old school devotees and a new generation who appreciate well crafted pop songs with an edge.

In an age where synth-wave is a growing phenomenon, Levara mix the best of a retro meets modern sound, delivering a bright, fresh and uplifting collection of songs, supremely written and crafted and expertly produced like a slick major label release from the 80s.

If you’ve been living under a rock with no internet connection, Levara are Trev Lukather (son of Steve Lukather) on guitars, bass and keys; drummer Josh Devine (son of vocalist Mick Devine) and vocalist Jules Galli. They are an extraordinary trio.

Half of the 10 tracks are already released as videos and if those haven’t convinced you of the brilliance of these guys, then there’s still 5 more chances with the remaining album cuts.

Of those, On For The Night offers listeners a lush mid-tempo melodic rocker before a Toto-esque rhythm sets up the monster ballad Allow.

Towards the end of the 38 minute album is a pleading modern rock song Just A Man that gives way to one of the finest and most gut-wrenching ballads in recent memory. No One Above You is simply wonderful – perfection personified and the bombastic end is majestic.

Chameleon is still on the top of my Best Songs of 2021 list, you just don’t get intelligent, unpredictable songs like this that often.

Oh, and vocal God Steve Perry pops up in amongst the choir of harmony vocals that are all over the record.

It’s a rare occurrence for me to agree wholeheartedly with a band’s own press release, but the words of Trev Lukather to sum up Levara are as good as any I could write. He says Levara is “Anthemic, massive drums, epic fills, loud guitars, soaring solos, huge vocals, unreal high notes, strong melodies and a hook that you can’t get out of your head.”

Amen to that. Get this record pronto.

Wicked Smile is the brainchild of Steve Janevski (Black Majesty, The Radio Sun & Cyclone Tracy), their debut album ‘Wait For The Night’ was released late in 2021, but it’s never too late to join the party, especially when the offering is as good as this is.

The Aussie melodic metallers are fronted by Danny Cecati (ex-Pegazus & Eyefear) with Stevie Janevski and Dave Graham (ex-In Malice’s Wake) on guitars, Glen Cav (ex-Virtue) on bass and Jason Tyro on drums.

Mixing Ozzy, Iron Maiden and Black Majesty, with a touch of Metallica and perhaps even some Jorn fronted Masterplan, the strength of this album is in the songs. These are quite simply, 10 brilliant no-filler-all-killer songs.

Style wise it is obviously in your face and heavy and a big credit to Paul Laine (producer) and Bruno Ravel (mastering) for making it sound as big as it does. It’s a huge metal sound for a debut album, but then again, all the guys are veterans of the Oz rock scene, so they know what they are doing.

Back to the songs – they are simply immersive and filled with hooks and melody lines, bone crushingly heavy at times, but always melodic at the heart and each with a defined chorus hook, which is essential for any great album.

‘Wait For The Night’ has everything – pounding rhythm, sharp riffing guitars and solos, some outstanding lead vocals I mean world class metal vocals), plus chorus harmonies that drive home the hooks.

Cannot recommend this highly enough and a truly special album for fans of this style of in your face melodic metal.

Simply glorious. No other word for it. The Swedish sleaze kings go a little further mainstream to deliver a melodic hard rock record with the same kind of energy you’d expect from a debut album.

The band continues to deliver album after album of well-constructed, intelligent songwriting, with hooks and melodies always in the forefront of their minds.

The new album has a modern sound, but a classic rock heart, and is immaculately produced and mixed for maximum effect.

Song after song of hook filled goodness – layered harmonies and swirling guitars.

There is a certain kind of kinship this album shares with fellow Swede’s H.E.A.T and Crazy Lizxx, but delivered in their own unique harder edged, sleaze influenced style.

11 songs and a short intro and every one of them demands attention, all that little bit different from the track before it.

This is a really heavy, engaging, in your face, uptempo album of pure melodic bliss.