The Frontiers Records’ patented Random Band Generator was put into action once again, this time spitting out three new rock star names to be partnered together in another silly name project and dished out to the masses, with songs all written by Frontiers’ current favourite writers.

This week’s band is SKILLS and it features bass legend Billy Sheehan, guitar legend Brad Gillis and fan favourite drummer David Huff. On vocals is Brazilian singer Renan Zonta (Electric Mob), a guy with a huge set of lungs, but the least appealing look. Especially up against the other 3 guys. Big voice, but hardly distinct – he’s from the Ronnie Romero school of raspiness and not really suited to this project.

With a lineup like this, you could be forgiven for expecting something truly special. But there is nothing organic or magic about these projects and the way they are assembled gives no room for chemistry or natural comradery to grow. Especially when the band aren’t given the opportunity to write any material themselves. It’s just a paycheck to play a set of songs delivered by the label. Like one of many.

I’d be surprised if any of them met during this whole process. The videos and lineup pictures are pasted together to look natural, but they’re far from it. But that’s just the way it is and as long as the buying public accepts it, they’ll keep coming.

Production and keyboards come from Alessandro Del Vecchio. The mix is fairly even, but the sound lacks punch and once again, Frontiers Records have a huge issue with overall sound and song blandness and the lack of a killer drum sound.

There’re 4 or 5 great songs here, but there are more that simply slip by without much notice. I’ve played this record a lot in the last week or so and I probably won’t go back to it now the review is done.

The album is expertly played, that was never going to be in doubt, that’s what you get when you pay for the likes of Sheehan/Gillis & Huff. But the individual personalities of these great musicians rarely shine through. If you are going to hype a band on its members, then those members better stand out.

On all but 3 or 4 tracks, anyone could have been on bass here and I only hear Brad Gillis really break out of his shell a few times. Drums I’ve already mentioned as an issue with most of these projects.

I think the two songs released to date have been pretty average to be honest – there are better within the album.

But this isn’t Mr. Big or Night Ranger. It’s not a whole world away from the sound of the new Giant record or Revolution Saints or any of the other manufactured supergroups of late. It doesn’t have the personality of either of those bands, nor its own identity.

Fans must accept it as another European sounding hard rock project from the Frontiers production mill. Do that and you’ll probably enjoy it. Look for something special from the sum of the ingredients and it falls completely flat.

Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.

So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.

I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.

I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.

It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.

Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.

Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.

On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.

It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.

Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.

Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.

It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.

Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.

Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.

I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.

Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.

Aussie melodic rock legends Noiseworks are back with a reunion tour and a ‘new’ album that was recorded several years back but shelved for various reasons. Most notably the cancer battle of guitarist Stuart Fraser, which would eventually claim his life.

So this album and tour is a tribute to him – with Southern Sons’ Jack Jones filling in for the live dates.

The official fourth and likely final Noiseworks album is a mix of classic and modern, with the band reliving its trademark sound from the first two albums in places, but then also delving into the heavier, groovier feel of the lesser liked third album.

The mix works pretty well here, but the standout songs are clearly the ones that lean towards the classic/melodic side. The opener Heart & Soul is among the band’s best tracks – a great feel good anthem.

Amerika is another highlight – a song which is quite literally half classic (the chorus) and half modern and heavier (the verses).

Elsewhere the ballad Long Way delivers a nice sentiment, the decade old Sunshine sounds better today than it did when originally released as a single and Low is a modern moody rocker with a killer vocal from the always amazing Jon Stevens. One In A Million picks up the pace with another good hook before delving back into the album’s familiar mid-tempo groove on Let It Go.

Unfortunately the album is over too soon, and closes on a low note, as the acoustic ballad Ocean Girl isn’t as strong as the rest of the material and the 50 second Touch (Epitaph) isn’t long enough to go anywhere.

All in all, take 34 minutes minus the last two tracks, you get 28 minutes of high quality modern melodic rock, excellently produced and performed by some of Australia’s best musicians.

A great long EP, or a little short for an album.

To add to the conversation, the physical CD packaging is a disgrace – a thin cardboard gatefold with no booklet, no lyrics, little info and bad album cover art. Not much effort has been put into this aspect.