flector – Leaving The World (CD 2022) - #260

flector – Leaving The World (CD 2022)

Here it is, the first full length album of flector (after an initial three track CD). I've said my bit about the band and the CD "Leaving My World" is very much what I expected and had hoped for. Seven tracks, clocking in at just beyond the 41 minute mark and not a million miles away from their earlier taster (although this time, there's a whole new line-up). The band played a gig a few weeks ago in Wetzikon (Scala) introducing the new CD (and selling it at the merchandise table, obviously). 

 

The songs are very well chiseled out and the music meanders somewhere along Epic, Prog and Hard with enough detours not to pin a single style on their lapels. In fact, the genres just mentioned blend into each other and the tracks will hold your attention at any moment during the performance. A few weeks into buying the CD, I will skate on thin ice, but I truly believe that the album won't get boring in the near future. There's so much to discover and it's just the right side of pompous. Unlike some bands noodling their "Prog" through all loops. It flows all natural and not artifically blown up.

I spare you my thoughts on the songs, you really have to listen to them. I've spoken to quite a few people about the music of flector and in general (100 %) the feedback was excellent. This is going from "great", via "genius" to "fantastic", and I'm not one to disagree. You might want to check out YT, there are some of these tracks online, although the sound quality is for the bins (as usual on YT). The CD itself is very well recorded and leaves nothing to be desired sonically.

 

 

 flector are not a professional band at all, but they do sound like one. And the fact that all of their songs are original ones is well worth mentioning. I have the utmost respect for bands getting down on their knees and come up with something original. Their status doesn't just extend to this CD (and the previous EP) but they're an experience on stage as well. At the aforementioned gig at the Scala in Wetzikon, flector pulled out all stops (as they usually do, no idea why I should mention this).

The flector management also sends this CD abroad (as well as t-shirts), ask on their website www.flector.space and have a fallback to earlier times when music was so much more than just streaming. And the proficiency of their playing is just the icing on the cake. What else? I've seen the band live a couple of times and on stage they seem to come across a bit harder. This is another topic I have discussed with a few people but I don't think it's because live music in general is a bit edgier (which I believe is true), but it does sound like the option to go "hard" is well balanced.

Cheers

Roland

P.S.: If anyone wonders why I should spell the name flector with a small f, this is how the band set out at the beginning. I notice a change to F lately, but I'm not sure this is their intention.
 

Delusions Of Grandeur on Facebook #259

Delusions Of Grandeur on Facebook

 

I'm a member of the KIOOS (Keep It Out Of Sight) group on FB, because the topic is a wide ranging scope of all matters Pub-Rock. And what's more, the discussion is quite civil and sometimes even interesting (which you can't say for a lot of groups on FB – internet stupidity (pun intended) rules the waves). So, here's for some background:

 

 

The last original member of Dr. Feelgood passed away in 1994 and then the whole shebang took a turn for the worse. The band carried on without a single original member in its ranks. Back in the noughties I spent a lot of time on the internet checking up on bands that claimed to be the successor of a previous incarnation. It's not pretty, believe me. As for me, a band without a single original member is a covers only band and has no right to keep on using a brand name. Of course, legalese will tell you that the name has been signed over to someone who is allowed to cash in. But as a music fan, I feel cheated. No, make this, I am cheated.

 

I do try to avoid those "discussions" and "arguments" whenever possible. It used to be much more important to me, but nowadays I won't even acknowledge such bands, much less buy or listen to their product. On the other hand, if they want to release new media or merchandise (and find a new group of buyers – or the leftovers from the original band), more power to them. There's a ton of good music out there and I don't have to spend my money on bands that cling to past glories, of which the current members were no part of. You can say, that I've found my peace regarding this subject and I circumvent the topic quite easily,

 

That is, until a certain point. One of these is the yea-sayers who claim that their way is the only way and would accept the umpteenth faux incarnation, just because they can and will spit their venom. Interesting thing is, they always do blame the nay-sayers for their opposing views. You can't discuss this with the pro fraction. I can understand this in a way, because most of them seem to be latecomers and have no idea what it was like when an artist set out at the beginning. And those are the folks that tell you what you need to do and think. Just like I would tell someone what Rock'n'Roll was meant to be in the 50's.

Checking "social" media, you'll also find, that most flaming wars start with someone from the yea-fraction starting a post along the line "...not wanting to wake the beast, but ..." or "... this is not a discussion about the real ..." etc. Yes, right, and the world is flat. The whole setup is so transparent and shows only one purpose, to stir the pot and to get the 15 minutes of fame (on FB nevertheless). And so it goes on and on and even if the whole of the nay-fraction drops of the face off the earth, the yea-sayers couldn't stop at what they are doing. Let's be honest, these bands are mostly has-beens and they are close to retirement, trying to squeeze the last out of the glory other people before them have achieved.

 

O.K., this by way of introduction the subject to better understand what this is all about. Now to the clip (from FB) that is included with this post. Steve Leslie is the admin for the aforementioned KIOOS group and has actually never come to my attention for being rude or disrespectful of the folks frequenting his group. This has definitely changed when this post popped up and the very first sentence I read was

 

QUOTE

Gonna stick my neck out here ... well, not really as any derogatory posts will be removed."

UNQUOTE

 

Seldom has an admin claimed to be the absolute ruler and he who opposes his views, will be shot at sunrise. Censorship? You bet! Looks like he's trying to gather his troops for a final battle and he wants only folks who are loyal to him on board. Or just maybe I don't get it and it's just games people play. How to work your way up to be a smalltown dictator in your spare time. If the admin is happy with his handselected flock, good for him. But discussion and exchanging views is not followers bowing to each wink of the master and hopping along to every disastrous battle on the way. I would advise some people to stick this kind of delusions of grandeur to within their own walls.

 

 

Cheers

 

Roland

 

P.S.: I do expect better, much better, from an admin of an FB group with more than 5000 followers.

 

Last Avenue – Hedonism (CD) - #258

Last Avenue – Hedonism (CD)

 

2022 comes along and with it a new album by Last Avenue called "Hedonism". The ethical theory that pleasure (in the sense of the satisfaction of desires) is the highest good and proper aim of human life. Well, I had to check and as a service, here we go. It ain't Rock'n'Roll when you have to use a reference book (or software), but Last Avenue isn't your average "heads down no nonsense mindless Boogie" band anyway. Not that I'm not an absolute fan of some of the latter. Quite on the contrary, but let's talk about the new CD instead.

 

Having released a few albums, you always expect something. Worse, same or better, these are questions that you want answered. Sometimes I think it's very difficult for a band to pile great albums on top of each other. With Last Avenue, they plough ahead and there is progress and it's not progress for progress' sake. There is a natural flow and the current CD does them proud. I'll need to go through the lyrics (I do this very rarely), but something caught my eye and I need to dissect this on a shakespearean level.

 

The music? Get to the point, I hear you say, we're not at a Bob Dylan lecture. Oh well, the audience has no patience and the instant gratification incentives have taken hold, but fear not, the music! Catchy tracks from start to finish with a certain sophisticated colouring. See "The Beginning", but speaking of the aforementioned "heads down no nonsense mindless boogie", "Dressed To Kill" comes as close to a mosh pit as Last Avenue will allow. Hey, all you rockers out there with tears in your eyes, yes, they did this one for you.

 

But they haven't forgotten ballads either and in the tradition of the band along comes "This Place Is Magic". However, while both tracks are great, I'd like to know who decided to follow a rocker with a ballad. Something doesn't add up here. I do remember a discussion with "Doctor's Order" back in the day, when they used to throw in a ballad or two in their second set and it broke the flow. I told them so. When you have the band firing on all cylinders, you need to shift gears upwards again. It might work better on media, who am I to say?

 

 

Help me out there, where is "Here We Go" borrowed from? This is like, "Oh, hello, long time no see"! Maybe it's just the rhythm that evokes pictures of beaches and sun and cocktails and ... it does have that Carribean feeling and palms (as Ivor Biggun so beautifully described in one of his songs). "(Whatever) Tomorrow Brings" is very much another ballad, but I bet my last Swiss Franc, you won't go outside to do any chores.

 

"As God Came To Town" lets the guitar rip through the track with a clean sound and a joy to listen to. Sound is actually very important with Last Avenue's releases and I do mean good sound. I can't imagine that a lot of studio time has been sunk into the recording and mastering, but it goes to show, that even with limited funds a band can achieve some outstanding results (of course, I'm only guessing, I can't see Last Avenue being stuffed). "Dualism Sucks" and the guitarist sounds like his real goal in life is being the lead in a Hardrock band. Heavy rhythm and Godzilla on the prowl. Echoes of Motörhead. Yes, forget I said anything.

 

"In & Out", I have a problem now, suddenly I realize, I'm mostly following the guitar player. So let's drop the guy for now. Uh, no! Another showcase for the man on the electric one. It's getting to be another kind of interesting with a song like "For What They Were Living For", the voice does carry the song (with a little help from the guitar).  The closing track is an instrumental named "In The End".

Martin Gaisser: Vocals, Guitar, Backing Vocals

Christian Schönbächler: Guitar, Backing Vocals

Jérémie Bochet: Bass, Synth, Backing Vocals

Ron Summers: Drums

 

Check out the website at www.lastavenue.ch and support the band. You have seen some of their flyers on my Facebook page, showing their gigs throughout Switzerland and neighbouring countries. Catch them while you can, a good time is guaranteed.

 

Cheers

Roland

Pete Gage & Doctor's Order – Live 1998 (CD) - #257

Pete Gage & Doctor's Order – Live 1998 (CD)

 

Now that I had some time to let it sink in, I still can't make heads nor tails out of this. The fact that Doctor's Order did gigs with Pete Gage well before their debut release? The fact that the 1998 live outing was recorded at all? The release on CD more than twenty years later? The selling of this CD is tagged as sensational and I do tend to agree with this statement.

 

When I read about the upcoming release, there was mention of the sound quality not up to par but that it had been brushed up and was in an acceptable state (I'm paraphrasing here). While it's definitely not an audiophile reference recording, it's enjoyable to the hilt and you shall be forgiven, if you intended to test your new equipment with this release. In short, it is far better than what I expected from reading about it. Just let me say, I never use the Bass, Treble or Balance on my stereo, but this time I set the Treble to almost a quarter past. And the sound did enhance considerably (probably an audiophile's nightmare, but there you go).

 

 

The recording has been made by Rane Mäkinen (what you call an audience recording) and Teppo Nättilä seems to have had a tape all the time, that just saw the light of day recently again. So, this is not a bootleg per se, as it's released by Doctor's Order with their full input and permission. And I suppose with Pete Gage's approval as well.

 

The recording was done at a place called Beefy Queen in Helsinki on October 21, 1998. And the line-up was:

 

Pete Gage – Vocals, Hamonica, Piano

Jari Elsilä – Guitar, Backing Vocals

Timo "MadMan" Väätäinen – Drums

Teppo "Teddy Bear" Nättilä – Bass, Backing Vocals

Elsa Kuloniemi (as very special guest) – Slide Guitar 

 

What you get here are nine tracks at just beyond 33 minutes. I can't say wether this was the whole set, parts have been lost or damaged or wether Pete Gage appeared on only the tracks that are now offered to the public. The whole set consists mainly of Dr. Feelgood songs and covers and, of course, Pete Gage is the man in 1998. The songs you've all heard before, suffice to say the singer does what he used to do in his own band. With his quite recognizable voice, he's the anchor here. Interesting fact, most songs are actually from the Wilko Johnson songbook (see picture). Plus  Johnny Kidd's "Shakin' All Over" (just unkaputtbar) and Mickey Jupp's "Down At The Doctors" etc.

 

 

You get a very good idea at what it must have been this evening at the Beefy Queen and you wish you would have been there. But don't cry over spilled milk, there's this substitute available (limited to 100 copies and closing in to zero fast at Blues-Shop) and, yes, it's still not the real thing. But it'll do if you missed it, like I did. The photos that you see on the release were taken by Anita Repo, sleeve design, editing and mastering by Ipi Kaipiainen and the DO logo by Jari Elsilä.

 

Cheers

 

Roland

Lockdown Docs – Back To Basics (LP) - #256

Lockdown Docs – Back To Basics (LP)

 

A word about the quality of today's LPs: I used to read a lot of forums online and the consent seemed to be that the quality went down the drain since the 60s/70s. I never subscribed to this opinion and to me, people complaining about imaginary shortcomings of vinyl either bought the latest Celine Dion (who jumped onboard the train, because it was/is the hip thing to do). But don't restrict it to Mrs Dion, there's a certain Helene Fischer (German Schlagerkitsch) who's flooding the market with LPs. The point is, there were and are always quality pressings available, but if you buy the big sellers, which amounts to probably 5000+ copies these days, you get what you asked for. Pressings made in the Czech Republic, on a sandy beach with no lights on. Throughout the 90s/00s/10s etc., there were lots of quality pressings on the market, granted, mostly from independent sources. When the world was complaining, I still got my Punk records and not a fault in sight. I bought "Sticky Fingers" (new and sealed) and it looked like it came directly from a recycling landfill. I got the Lockdown Docs "Back To Basics" and every self declared audiophile would shed tears because this is the holy grail with regards to pressings. Dead quiet (except the music, of course), flat as the earth (no warps), perfect outside circle and the middle hole is exactly where it's supposed to be. I've stopped reading those forums and magazines a while back.

 

And now we have the Lockdown Docs putting one up. I was quite surprised when I heard of the imminent release of their third offer (the previous two being on CD). Haptically and sonically a treat and the rest is, as they say, history. You don't need to read between the lines to realize I'm impressed. And they even left the sand on the beaches in Finland. "Back To Basics" is the name of the game and the basics in this case are Dr. Feelgood, Doctor's Order and the Pirates (in no particular order). Of the ten tracks, eight are straight out of the Dr. Feelgood songbook (to the layman this spells covers), but more about this later. One is a Doctor's Order track from way back and "Honey Hush" is a Pirates cover.

 

 

The band is going the way they laid out with the two earlier digital tasters, that is to say, no prisoners taken British style R'n'B heading in the right direction. Strange how this differs from country to country. In my neck of the woods, this kind of music wouldn't get you fame and glory and 200 kilometers east of here, you'd be the star of the show. Also, the sound is great, probably digitally processed, but there are very few all AAA releases these days. Most studios are just not equipped anymore to handle real analogue recordings (including analogue cutting for the final product). I know, we've all heard these Dr Feelgood tracks over and over again, but here, they sound fresh and were given a new lease of life. The Lockdown Docs don't pretend to be Dr Feelgood, they're faithful to the originals and even more important, they do not ape the Canvey four's song book. There's a touch of Lockdown Docs signature there. Beautiful execution. Top musicianship and a splendid job. I want to mention Jonatan Nurminen, because the singer gives the vocals a very own colourization and doesn't try to step into Lee Brilleaux's shoes, yet he's in control throughout.

 

 

 

 

"Honey Hush" is, of course, a Pirates cover and, as with all the tracks on the LP, I wouldn't want to miss it. "So It Is" comes directly from the Doctor's Order debut and is penned by Archie Hämäläinen himself. This is one of the top three tracks from his earlier band and with the mentioning of Lee Brilleaux in the lyrics, it's a fine tribute and still, even with the time passed, an excellent song with a hook that won't let you forget it. Highly recommended release by this newish band from Finland. I got my copy directly from the band (thanks a bunch) and Blues Shop in Finland used to sell some, but it seems to be sold out there (maybe they will restock the record) or try Goofin in Helsinki which is another outlet carrying the item.

 

A word regarding "So It Is": There's an earlier vinyl version (7" single) available that comes with the book "From Roxette To Ramona / Dr. Feelgood And Wilko Johnson On Record". Copies are still available. Contact me if you're interested in the book and the record (dr_feelgood (at) bluewin.ch). I'll send you the details re price, payment etc.

 

Cheers

 

Roland

Skeleton Hellraisers – Brutal Mojo (CD) #255

Skeleton Hellraisers – Brutal Mojo (CD)

 

A bit of a taster. It's a four track-CD "only" and a bit of a mistery to me. First I have no clue what the band is, where they are going and what this band is all about and wether there is a future in them. Sure, the four tracks deliver but leave you wanting for more. The CD clocks in at just a tad over twelve minutes. My first name is Sherlock and thus I pieced this vital information together:

 

Archie Hämäläinen (Doctor's Order and Lockdown Docs): Guitar

Mike Rintasaari (Jolly B Goode): Vocals and drums

Vellu Hyötyläinen (Lockdown Docs): Bass

 

I know that Archie has been playing in quite a few other bands as well, so this is by no means a full CV. With Mike Rintasaari I'm a bit on thin ice, there's a Mikko Rintasaari who played drums in Jolly B Goode. So, there's a connection and I feel, I'm on solid ground. However, I do see a Mikko Rintasaari on guitar throughout the internet. No idea wether this is the same guy or just a match on the name. Vellu Hyötyläinen, I'm pretty sure he has worked the circuit also for a long time, but I didn't make any progress in tracing his steps.That is, because either his name is differently spelled at times, the information doesn't exist or I just have to dig deeper (and learn the Finnish language in the process).

 

 

Still, funny to see how it goes all in circles, everyone knows every other person in the Finnish music scene. Of course, all four bands mentioned are not a million miles musically apart from each other. I'll not put any band up on the table for dissection, suffice to say there are slight variations in style between all of them, probably the least Lockdown Docs vs. Skeleton Hellraisers. But that'd be counting beans.

 

Skeleton Hellraisers tag their brand as "Brutal Rock'n'Roll". Yes, you can do that if you want a unique selling point. To me this is rather truthful and heartfelt Rock'n'Roll with a calming touch, safe in the knowledge that not everything and everyone on this planet has gone bonkers. You can feel at home, safely within your own four walls. Three out of four tracks are original compositions and that usually is a winner for me. A band coming up with something new gets my attention immediately. Nothing wrong with a good cover version but the interesting part is where they show off in  the true sense of the word.

 

Mike Rinasaari is the sole singer here and he does a commendable job and his drumming is certainly supporting the whole structure and he does it with aplomb. Trios are, of course, the smallest Big Band possible, but also the most unforgiving as each member is under a magnifying glass and errors exponentiate at lightning speed. I've read interviews with trios where they actually mentioned, that sometimes they would like to play in larger groups, because every now and then you just have to hide.

 

The sound is good and dirty enough to give the tag "Brutal Rock'n'Roll" credibility. Interesting (to me at least), the twelve minutes feel like three minutes at the outset. Vellu Hyötyläinen on bass does an excellent job as well. Especially when I watch a bass player live or on video, sooner or later the question comes up, how can he/she keep time (same goes for the drummer as well, obviously)? I guess it's interplay with drummer and bassist that allows for a few detours during a set. And Archie Hämäläinen at his usual best, driving guitar and fine form. I've heard stories of Archie playing saxophone. Nudge, nudge! Can we expect something along those lines on a future outing?

 

For a copy of this CD, direct your browser to http://www.blues-shop.fi/kauppa/ (translation button at upper right hand side). If you want to send the band a message, check out https://skeletonhellraiser.wixsite.com/skeletonhellraisers?fbclid=IwAR0-n7DTrUIpidNm5czQnepcRqTkF6Yu1SAXfZxbwSxw53IgMF26TkzW0ZM

 

Cheers

 

Roland

Last Avenue - Live At Bar Manhattan February 19, 2022 - #254

 Last Avenue - Live At Bar Manhattan February 19, 2022

 

Before I forget it in the heat of the moment, Last Avenue will play another gig here in the Northwestern part of Switzerland and this will be on March 26, 2022 at the Auld Dubliner in Basel. 

But the band just played the Bar Manhattan last Saturday. Just a word from the sponsors, Bar Manhattan hosts gigs almost weekly (Fridays or Saturdays or both). It's a smallish venue but quite a place to be and get yourself back on track after a week of hardship in your job.

This was now my first time I saw the band in a live setting and it won't be my last. It's quite a difference hearing a band on record or in the flesh and believe me, they haven't disappointed this time either. Last Avenue call themselves "Hippie Rock", but take this as a pointer only. I heard a couple of times that folks called them very diversified and eclectic. But not beyond the point of recognition (my addendum). The band has their signature sound and it's of a good time nature.

 

When listening to the band on media, you could be forgiven to think that they only present original songs and I was actually surprised that a good chunk of what was on offer consisted of cover versions. I can understand that, you have to pull the punters in with what they know already. No complaints there and the folks in the audience loved it (and so did I). The recognition factor of their own material is very high and judging on this alone, the band could easily carry on through their set with nothing but self penned songs.ut there you, sometimes they just played the very first chords of a well known cover and the people started dancing. 

 

The place wasn't packed, but there was a good number of music fans present. The gig was a 2-set event and if I'm not totally mistaken, the first one consisted of more original material than the second one. Maybe it's just for party time later in the evening. I did hear high praise for the singer (that came first) and the band (which came later). The venue aids the listener in watching the band from very close up (in other words, you're one step away from the band) which could be unsettling if they watch your guitar, bass or drum runs and you can't allow for any mistakes. Perfectly mastered by Last Avenue.

I've recently seen flector and the Glorias in this place and while all three bands play a different kind of music, it's all good and excellent Rock and with all three I had a flash of "bloody hell, they know what they are doing". Don't get me wrong, I knew what all three were doing, it was just that the power on stage is something different than on your stereo at home. Or maybe it was just a joy to have such amazing bands on stage and have live music again. The set lasted from around 9 pm to just after 11 pm (with a 15 minute break  - or so) and it was as much an excellent musical journey as well as a worthy night out.

Last Avenue work on a new CD which should be out sometime in the middle of the year (2022). Check their website (link below in the last entry before this one) for news and updates.

Cheers

Roland

P.S.: And when I went home by public transport, from Basel to the suburbs, some guy (I had no idea who he was, but it was worth a thumbs up) was playing "Higher And Higher" on his smartphone for the benefit of everyone in the tram. This really made my day. 😇

Last Avenue (Band) - Number 253

Last Avenue (Band)

 

I admit, until recently I had never heard of Last Avenue despite the fact that they apparently exist since 1998, originally as Mild'n and from 2006 on as Last Avenue. And I'm no stranger to Swiss Rock music, although I don't claim to have heard of every band in Heidiland. I'd guess, the ones I haven't heard of have either a very low profile, play only cover songs or make a ruckus in a genre I can't stand. Considering that the band has released five albums and a couple of singles, it's quite an achievement to remain below the surface.

 

But truth be told, it's probably not their fault. I've learned a major lesson regarding the Swiss music scene, it's very fragmented. Whatever is en vogue in the french part of the country is lost somewhere along the Röstigraben and vice versa. Same goes for the italian corner (Ticino), except in this case, the dividing line are the Alps. The problem is actually so bad, that a lot is lost between the Basel and the Zurich area. Bands that have cult status in the Northwestern part of the land of cheese and chocolate don't get a foot on the ground east of their natural habitat. And I'm not even starting on areas East of East St. Zurich or the scene around Bern or others. Case in point, Blues and Bluesrock bands don't have it easy around Basel, while around Zurich they seem to thrive. There are genres which are much more at home here that you won't find in abundance in other parts of the country.

 

Last Avenue call their music Hippie Rock and Classic Rock. There is something to be said for short and concise descriptions, but a lot is lost in translation and there is so much more. Not that Hippie Rock is a misnomer, personally, I think it's a bit vague, although I can see where it leads to. Classic Rock, although not a genre per se, is much more to the point (even though this is not the end of the rainbow). The associations made with regards to their music cover quite a range, but I must leave it to the listener to draw his/her own conclusions, suffice to say, I still hear traces (and sometimes a bit more than that) of Led Zeppelin. Maybe the band is out to crucify me now, but this was my first impression when I listened to "House Of Trash". Mind you, not throughout the CD, but it stood out several times.

 

House Of Trash (2006)

Definitely, the band is anchored in an updated 70s setting. The songwriting (all originals, btw) is outstanding and the execution of the songs is beautifully done. I've said it before, every band going to the lengths of doing their own songs gets a bonus point from me, wether I like what they're doing or not. The full CD is very organic and floats from track to track as it must be. In preparation for this post I've listened to the album many times and I don't yet see the day coming, where I'm getting bored with it. Probably never.

 

I don't want to single out any of the tracks, because they are all of high quality. Just let me mention some of the twelve highlights. "House Of Trash" sets the pace for what is to come. An opener that gets your attention immediately. It's a bit like the band has packed all their trademark antics into the one song. "Ten Years Today" is more of this 70s vibe. A mix of times long passed with a 21st century sprinkling. "Giving It Up" is a rocker but still founded in the music tradition. One thing that must be said about the music, even though the guitars scream sometimes, the drummer is present and the singer gives his all, they never drift into Heavy Metal, it's always solid Hard Rock (when the track calls for it). This is a prime example of their more "in your face" songs. "So Never" is a ballad, but I hasten to add, not one of those sleepy things that I usually turn off. "Just For You" is maybe a lost Led Zeppelin song. Grand! For this track alone you should buy the CD. "Speedway Lover" is another track that flows so seamlessly on the harder side of the genre and the guitar is just beautifully done. Even the breaks to a slower pace make sense. "Treetop" is the longest track on this CD (8:04) and a very interesting piece.

 

A commercial break and a word about the band. The current  line-up is as follows:

 

Martin Gaisser: Vocals, Guitars

Christian Schönbächler: Guitars, Vocals

Jérémie Bochet: Bass, Vocals

Simon Plüss: Drums

 

Swiss bands amaze me sometimes by their professionalism (yeah, I know, prejudice), even though they are not fulltime musicians (see for example flector) and Last Avenue are right in this square. The guitars are more than a notch beyond very good. The rhythm section (bass and drums) knows their drill as well and I have to highly recommend the guy(s) on vocal duty. In other words, this is a nice package with not a dud in sight.

 

I tried to find some other CDs on the market, but failed to do so (I might try again), but Last Avenue's management was so nice and sent me their "Greatest Hits" CD, their latest release (thanks Sibylle!), just to get me an idea about the progression the band made. One thing I don't get, why is the CD not in chonological order? Five Mild'n and eleven Last Avenue tracks culled from various albums.

 

Greatest Hits (2020)

Depends on what you're looking for in an album, an overview of decades of creative output or a condensed version of a moment in time, this is how you perceive the offerings on a CD. I find "Greatest Hits/Best Ofs" compilations, or the like, always difficult. It's almost like a band erases part of their past and who's to say what songs the listener wants to hear from their back catalogue. Having said that, I can see how the band has changed from Mild'n to Last Avenue (based on these two CDs only). There are traces of Last Avenue in the Mild'n songs. But five tracks is more of an educated guess than solid fact.

 

Listening to the Last Avenue tracks that are not on "House Of Trash" there is only one conclusion to be drawn from it, try and buy the other CDs (note to myself). "When You Are Smiling" is one of these Mild'n tracks and I get it where the Beatles comparison comes from. I'm not a Beatles fan at all, but this is beautiful. If you're a Beatles aficionado (and even if you're not) buy the "Greatest Hits" CD. "Rock'n'Roll, I'm Coming Home" is a Last Avenue song and one that makes me itchy about getting the full CD. This is a song (amongst many others from Last Avenue) why you should seek out the band. While I would put Mild'n in a progression in fact before Last Avenue, make no mistake, the band, back then, knew how to strut their stuff. So, I might have to go the Mild'n route as well. Honestly, worse things have happened to me.

 

I just missed a Last Avenue gig (together with flector) last weekend but I will be at one of their live events as soon as I can make room in my calendar. If you want to keep updated, visit the band's website at

 

www.lastavenue.ch

 

or if you want to book them, please contact their management at

 

Sibylle 'Miami' Tanner

Etzelstrasse 38

8805 Richterswil

Switzerland

E-Mail: management@lastavenue.ch

 

Cheers

 

Roland

 

P.S.: Forgot one important statement above. A lot of singers in Swiss bands struggle with the English language and sound like Toni Vescoli on a good day, with their Swiss dialect shining more than through. Not so Last Avenue. I commend the guys on vocal duties for this as well.