M.I.L.F.
Rolling Thunder
Volcano Records
2020
I dunno why, but for some reason, I won’t even bother to analyze Italian sleazeballs M.I.L.F. sound familiar. No it has nothing to do with the American Pie, “Mothers I’d to F@ck”, reference, or even the acronym of an eponymous skewered meat restaurant in Athens, which stands for “Meat, I Live For”… so what it is then…
I figured out after a quick search that I indeed had listened to their previous album “More Than You” some four years ago. But, they’re not the same band anymore – since only one guitarist has survived from that lineup, actually gathering an entirely new lineup around him. They sound like a heavier Motley Crue with sleazier, somewhat slower and heavier songs… a little like the Corabi era, then.
The album opens with “Hottest Dream”, a song the band had released previously and got them signed for this album with Volcano Records. It sounds like a Guns reject from the 80s, if that’s good enough for ya and it’s probably one of the better songs on offer.
I suppose, I can’t take it too much of lead singer’s Simone Galli’s ultra-gruff and straight shooting delivery, which frankly sounds a little too monotonous and doesn’t follow the music’s more playful tone; he tries way too hard to sound rough and he does so by screaming out every sentence, which after a while gets rather old.
“Babe” should have been joined with the next song, “Blame It on the Vodka” and it would make a lot more sense, but I’m a sucker for some cowbell, and this “Babe” delivers… and even Galli, doesn’t go balls out straight from the go, sounding a little more tolerable. If he doesn’t like the review I could always “Blame It on the Vodka” that’s just a silly tune, with a title much cooler than in its contents.
“Last Hand” hits as hard as a too stroke bite engine and while, I’m not a huge fan of it, it’s got a kick like a mule and it helps propel this album forward… this one could have used a bit more bravado though, which is diminished somewhat by bad gang vocals.
“I Have a Dream” is a two minute long and particularly low fi except from I think MLK’s “I have a dream” speech.
“Peace or War” gets simpler and more metallic for some reason and almost too serious, a fact that doesn’t quite fit with the rest of the album.
I mean the next song is called “Unleash the Beast” and is either about riding a bike, or unleashing the contents of one’s pants, or both… so… I’m not so sure, if I can keep a straight face during the seven or so total minutes of the bands sobriety and seriousness phase.
“Crazy for Love” is more melodic, but worse with its theme, as it seems to beg too hard for affection… and not even in an epic Coverdalean way… this sounds like sad sad Bon Jovi kicked in the curb.
“Inner Fire” that follows sort of tries to convince us other way, with a late 80s Cult vibe and a riff, which is probably not theirs, but without a chorus that could get em some sweet piece of the pavement, as Diamond Dave would euphemize.
This is followed by “Bad Boys” that has a nice riff, but feels otherwise a little vacant.
Last but not least their cover of Aerosmith’s “Mama Kin” would have made more sense if they had done also a cover of “Nice Boys” prior, just like the GNR had in “Lies”. It’s not a hundred percent spot on, but they got the attitude pinned down, alright
This ain’t an album I want to soon forget (AIW2SF), but on the other hand, I might be looking for some local milfs instead of giving much of a damn about these imports.
I figured out after a quick search that I indeed had listened to their previous album “More Than You” some four years ago. But, they’re not the same band anymore – since only one guitarist has survived from that lineup, actually gathering an entirely new lineup around him. They sound like a heavier Motley Crue with sleazier, somewhat slower and heavier songs… a little like the Corabi era, then.
The album opens with “Hottest Dream”, a song the band had released previously and got them signed for this album with Volcano Records. It sounds like a Guns reject from the 80s, if that’s good enough for ya and it’s probably one of the better songs on offer.
I suppose, I can’t take it too much of lead singer’s Simone Galli’s ultra-gruff and straight shooting delivery, which frankly sounds a little too monotonous and doesn’t follow the music’s more playful tone; he tries way too hard to sound rough and he does so by screaming out every sentence, which after a while gets rather old.
“Babe” should have been joined with the next song, “Blame It on the Vodka” and it would make a lot more sense, but I’m a sucker for some cowbell, and this “Babe” delivers… and even Galli, doesn’t go balls out straight from the go, sounding a little more tolerable. If he doesn’t like the review I could always “Blame It on the Vodka” that’s just a silly tune, with a title much cooler than in its contents.
“Last Hand” hits as hard as a too stroke bite engine and while, I’m not a huge fan of it, it’s got a kick like a mule and it helps propel this album forward… this one could have used a bit more bravado though, which is diminished somewhat by bad gang vocals.
“I Have a Dream” is a two minute long and particularly low fi except from I think MLK’s “I have a dream” speech.
“Peace or War” gets simpler and more metallic for some reason and almost too serious, a fact that doesn’t quite fit with the rest of the album.
I mean the next song is called “Unleash the Beast” and is either about riding a bike, or unleashing the contents of one’s pants, or both… so… I’m not so sure, if I can keep a straight face during the seven or so total minutes of the bands sobriety and seriousness phase.
“Crazy for Love” is more melodic, but worse with its theme, as it seems to beg too hard for affection… and not even in an epic Coverdalean way… this sounds like sad sad Bon Jovi kicked in the curb.
“Inner Fire” that follows sort of tries to convince us other way, with a late 80s Cult vibe and a riff, which is probably not theirs, but without a chorus that could get em some sweet piece of the pavement, as Diamond Dave would euphemize.
This is followed by “Bad Boys” that has a nice riff, but feels otherwise a little vacant.
Last but not least their cover of Aerosmith’s “Mama Kin” would have made more sense if they had done also a cover of “Nice Boys” prior, just like the GNR had in “Lies”. It’s not a hundred percent spot on, but they got the attitude pinned down, alright
This ain’t an album I want to soon forget (AIW2SF), but on the other hand, I might be looking for some local milfs instead of giving much of a damn about these imports.