Gus G.
Brand New Revolution
Century Media
2015
Gus G.’s first solo album, was at best a confused affair, between hard rock and barely heavy metal, trying to be far away enough from Firewind’s power metal style as to justify the “title” of a solo release, but at the same time, bearing the overall marks of the popular Greek guitarist who’s come a long way since his early “self-released” promo days.
His second solo effort, comes not long since the “debut”... but is it any better than it? It certainly feels more cohesive, stylistically, but it doesn’t impress much, (not that the debut, set the world on fire either)…
There are several guest vocal appearances by the likes of Jeff Scott Soto, Elize Ryd (Amaranthe), Jacob Bunton (Adler, Lynam) & Mats Leven (Candlemass, ex-Yngwie Malmsteen), but this album smells more like, contractual obligation, than earnest creative outlet, in all honesty.
Opener “The Quest” is a nice enough instrumental opener that doesn’t launch into neoclassical histrionics, but manages to develop nice enough melodies to gain the interest of the listener and keep it. I quite liked it.
“Brand New Revolution”, “Burn” and “We are One” are sung by Adler/Lynam singer Jacob Bunton, whose rather whiny Hollywood style doesn’t feel too appropriate, in all honesty, with either Soto or Leven, who sing elsewhere, sounding like possibly more alluring solutions. He sort of redeems himself on the slower, heavier and somehow better, “We’re One” but all three songs, try to cater to a “modern”, “American” rock style and I’m not too certain to what extend they succeed. They sound quite alike riff/melody/structure wise and Bunton’s rather one sided delivery doesn’t help them “shine”. In fact, “Burn” becomes annoying as its chorus sounds rather promising at first but ends with a very unimaginative repetition that becomes cumbersome. “Brand New Revolution” sounds a bit like those neo-Ozzy tunes, that Kevin Churko, composes in his sleep… just like the rest...
“What Lies Below” is dark and modern and benefits greatly from Amaranthe/Kamelot’s Elize Ryd’s really characteristic and pleasant voice, which manages to adapt considerably to the overall style… if only the chorus was a bit more interesting and “distinguishable” from the rest of the song, without the needless guitar “noodling along” on a lower level all along it, it might have been a bit better. Gus is quite fiery on this one, but I’m guessing he overdoes it, thus minimizing the effect of the vocals.
In “Behind Those Eyes” things do get a bit better, it’s a slower lyrical song, with a bit of a crescendo, with Bunton making a return behind the mic. This is so far his better effort. The bluesy undertones, after the “mild crescendo” are quite pleasant and G exercises some restraint in that he doesn’t solo over the chorus like previously, although he solos quite Wylde-ly again!
“Gone to Stay” (pretty bad wordplay on the title) features a rather “strained” Jeff Scott Soto, on his “new-er” style, similar to the “Inside the Vertigo” more aggressive and neo-American style. All these guys that are former “screamers” seem to find a more comfortable way of singing as their range is “diminishing” by going for this newer style and JSS is no exception. Only in his case his “gravel” and color, are still exceptional and make even a mediocre song like this one, sound quite interesting.
“One More Try” is a lot better, bluesy and bruised and a little downtrodden, a bit reminiscent of a darker Ozzy’s “Dreamer”… a bit hippy… but a touch more electric… nice enough and Bunton, holds out nicely enough on his own, again, on his “last” tune on the album. Still he gets the lion’s share, compared to the sole, song he appeared on, on “I Am the Fire”...
Now Mats Leven who in contrast, appeared on most of the “debut”, appears only thrice on the sophomore “Come Hell or High Water” is a rather old school pace rocker, in “new” clothes, with the vocals, not sounding entirely engaging or at least as “thick” as Mats, usually sounds. You can tell it’s him, but he sounds a little strained and thinner than usual. The song isn’t half bad, without being something exceptional but it certainly benefits from Leven’s characteristic style and voice.
“If It Ends Today” is Leven’s second contribution to the album and it begins, with some pretty mystical mambo jumbo, but sounds rather interesting. It’s over all darker than a lot of the material on the album and more modern, and while Leven still sounds a little “thinner” than I remember him, the overall impression is not a bad one. I’m guessing the chorus could have been a bit better and more “inspired” but...
“Generation G” is JSS’s second and final contribution to the sophomore. It tries to be a neoteristic tune that would bridge, the European style, with the whole Adrenaline Mob/Disturbed, American style. It does manage to come up with a half convincing chorus and mix the rather contrasting influences in an alloy that holds up OK, but it’s not a “world changer”… to quote an old Jorn album...
Last but not least comes “The Demon Inside” with Leven, assuming the “demonic” role… while I got some lyrical flashbacks to “If It Ends Today”... which ain’t telling a whole lot about inspiration, here Leven really shines and displays his usual range and versatility, thus, making the song a relative album highlight. The verses are mysterious and gloomy, but the chorus isn’t all that great, which is a bit of a shame, as this song is nearly the best damn thing on the album...
Overall impression. Gus G. is caught between his old band, being in Ozzy’s pretty much inactive band and he’s trying to channel any creativity he might have into a rather bizarre mingling of what he might like and what’s popular, thus failing to sound quite original. A second solo album in so little time, shows the Greek guitarist to be spreading himself a bit too thin as the songs are not destined to “make” any particular mark... sooner or later he’ll probably give up to either resurrect his old band or do something else... I’m quite convinced... but all that depending on his Ozzy obligations...
His second solo effort, comes not long since the “debut”... but is it any better than it? It certainly feels more cohesive, stylistically, but it doesn’t impress much, (not that the debut, set the world on fire either)…
There are several guest vocal appearances by the likes of Jeff Scott Soto, Elize Ryd (Amaranthe), Jacob Bunton (Adler, Lynam) & Mats Leven (Candlemass, ex-Yngwie Malmsteen), but this album smells more like, contractual obligation, than earnest creative outlet, in all honesty.
Opener “The Quest” is a nice enough instrumental opener that doesn’t launch into neoclassical histrionics, but manages to develop nice enough melodies to gain the interest of the listener and keep it. I quite liked it.
“Brand New Revolution”, “Burn” and “We are One” are sung by Adler/Lynam singer Jacob Bunton, whose rather whiny Hollywood style doesn’t feel too appropriate, in all honesty, with either Soto or Leven, who sing elsewhere, sounding like possibly more alluring solutions. He sort of redeems himself on the slower, heavier and somehow better, “We’re One” but all three songs, try to cater to a “modern”, “American” rock style and I’m not too certain to what extend they succeed. They sound quite alike riff/melody/structure wise and Bunton’s rather one sided delivery doesn’t help them “shine”. In fact, “Burn” becomes annoying as its chorus sounds rather promising at first but ends with a very unimaginative repetition that becomes cumbersome. “Brand New Revolution” sounds a bit like those neo-Ozzy tunes, that Kevin Churko, composes in his sleep… just like the rest...
“What Lies Below” is dark and modern and benefits greatly from Amaranthe/Kamelot’s Elize Ryd’s really characteristic and pleasant voice, which manages to adapt considerably to the overall style… if only the chorus was a bit more interesting and “distinguishable” from the rest of the song, without the needless guitar “noodling along” on a lower level all along it, it might have been a bit better. Gus is quite fiery on this one, but I’m guessing he overdoes it, thus minimizing the effect of the vocals.
In “Behind Those Eyes” things do get a bit better, it’s a slower lyrical song, with a bit of a crescendo, with Bunton making a return behind the mic. This is so far his better effort. The bluesy undertones, after the “mild crescendo” are quite pleasant and G exercises some restraint in that he doesn’t solo over the chorus like previously, although he solos quite Wylde-ly again!
“Gone to Stay” (pretty bad wordplay on the title) features a rather “strained” Jeff Scott Soto, on his “new-er” style, similar to the “Inside the Vertigo” more aggressive and neo-American style. All these guys that are former “screamers” seem to find a more comfortable way of singing as their range is “diminishing” by going for this newer style and JSS is no exception. Only in his case his “gravel” and color, are still exceptional and make even a mediocre song like this one, sound quite interesting.
“One More Try” is a lot better, bluesy and bruised and a little downtrodden, a bit reminiscent of a darker Ozzy’s “Dreamer”… a bit hippy… but a touch more electric… nice enough and Bunton, holds out nicely enough on his own, again, on his “last” tune on the album. Still he gets the lion’s share, compared to the sole, song he appeared on, on “I Am the Fire”...
Now Mats Leven who in contrast, appeared on most of the “debut”, appears only thrice on the sophomore “Come Hell or High Water” is a rather old school pace rocker, in “new” clothes, with the vocals, not sounding entirely engaging or at least as “thick” as Mats, usually sounds. You can tell it’s him, but he sounds a little strained and thinner than usual. The song isn’t half bad, without being something exceptional but it certainly benefits from Leven’s characteristic style and voice.
“If It Ends Today” is Leven’s second contribution to the album and it begins, with some pretty mystical mambo jumbo, but sounds rather interesting. It’s over all darker than a lot of the material on the album and more modern, and while Leven still sounds a little “thinner” than I remember him, the overall impression is not a bad one. I’m guessing the chorus could have been a bit better and more “inspired” but...
“Generation G” is JSS’s second and final contribution to the sophomore. It tries to be a neoteristic tune that would bridge, the European style, with the whole Adrenaline Mob/Disturbed, American style. It does manage to come up with a half convincing chorus and mix the rather contrasting influences in an alloy that holds up OK, but it’s not a “world changer”… to quote an old Jorn album...
Last but not least comes “The Demon Inside” with Leven, assuming the “demonic” role… while I got some lyrical flashbacks to “If It Ends Today”... which ain’t telling a whole lot about inspiration, here Leven really shines and displays his usual range and versatility, thus, making the song a relative album highlight. The verses are mysterious and gloomy, but the chorus isn’t all that great, which is a bit of a shame, as this song is nearly the best damn thing on the album...
Overall impression. Gus G. is caught between his old band, being in Ozzy’s pretty much inactive band and he’s trying to channel any creativity he might have into a rather bizarre mingling of what he might like and what’s popular, thus failing to sound quite original. A second solo album in so little time, shows the Greek guitarist to be spreading himself a bit too thin as the songs are not destined to “make” any particular mark... sooner or later he’ll probably give up to either resurrect his old band or do something else... I’m quite convinced... but all that depending on his Ozzy obligations...