Over the years, Alter Bridge has grown to become one of the biggest mainstream rock acts. Guided by the otherworldly talents of singer Myles Kennedy and guitarist Mark Tremonti, the band has always showcased a diverse range of styles. With Blackbird, the band managed to craft a modern rock masterpiece. It was an album that found the band ditching their post-Creed stylings and forging their own identity. ABIII continues this trend and finds the band expanding on their formula, while still maintaining that distinct Alter Bridge sound. The result is effortlessly one of the best rock albums of the year.

One of the first things I noticed about the album was the number of tracks. Personally, I’m tired of 10-track albums and I’m happy to see that Alter Bridge has provided their fans 15 solid tracks of pure hard rock.  The opening track Slip Into The Void starts out quietly as it builds atmosphere and sets the stage for the band’s darkest album yet. The heavy low tuned riffs are a testament to this on the opening track. Mark Tremonti is inspiring to listen to throughout the album as he snakes in and out behind Kennedy’s incredible vocal range. The two are complementary. You’ll start to hang on Myles’ every word as you wait for Tremonti to unleash another solo or kick your teeth in with his unrelenting riffage.

The band has also uncovered the power of exercising restraint. The songs are well crafted and go for the jugular. However, the band doesn’t force the music. Instead, it’s designed to flow like a story with harmony and melody accenting the words that came before it. Dare I say it sounds like a concept record at time. For example, Ghost of Days Gone By is a sweet standout track because of the way it ebbs and flows with the musical changes. The music paints a contrasting image to the lyrics, which sound almost dark at times. It’s an interesting combination which works very well. By the end of the track you think you’ve heard more than one song exploring various styles. This doesn’t mean the band has gone soft. Tracks like All Hope Is Gone and Isolation are amongst the heaviest the band has ever written.  The songs can be brooding, dangerous and unforgiving. At the other end of the spectrum, the band is poignant and heartfelt with songs such as Coeur D’Alene and Wonderful Life. In short, every shade of Alter Bridge ever conceived is present on this album.

There is a possibility that some may find the album too long. Over repeated listens I found myself skipping over to the songs I enjoyed the most. Furthermore, the blueprints behind the songs become predictable. This isn’t a terrible thing, but the songs do lose a bit of their grandeur.

Still, the album itself is a pronounced expansion of style for the band. The band sounds masterful on every track and the individual elements are second to none. It might lack the sophistication of Blackbird, but it’s a well written and dynamic album replete with intense themes. I couldn’t recommend it enough.

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FINAL RATING: 4/5

I have a confession to make: I skipped out on Maroon 5’s sophomore album. The lead singles failed to impress me and the music didn’t click with me as much as their first album did, which is one my favourite albums. However, the new single "Misery" has brought me back. The track is upbeat, hip, and features a dance beat. Altogether it sounds likes a step in the right direction for the band, and that brings a smile to my face. Featuring a hot girl in the music video also helps.

The tracks on the album fit well together. They all feature the patented synthesis of rock, pop, funk and soul that Maroon 5 have come to be associated with. None of the songs are terrible, but some are certainly more exciting than others. For instance, "Give A Little More" is heavy on the funk and brings Adam Levine’s stylised sensual vocals to the forefront. Suprisingly, the track sounds like a Quincy Jones produced Michael Jackson track. Spooky.  The next song, Stutter, continues to evoke such eerie feelings. It’s an upbeat summery love ballad. It sounds rooted in the eighties, but has a contemporary twist to it. It’s a fantastic track, and the band encapsulates the various feelings described within it perfectly.

"Never Gonna Leave This Bed" is one of the two slower songs on the album, and easily the best song on the album. It’s tender in its passion and Adam sings every word like he feels it. It’s reminiscent of their first album and feels classic, in a Maroon 5 manner. It’s not difficult to imagine this as a future single with a stellar video. The most interesting track on the album is probably the title track "Hands All Over". It finds the band exercising their harder rock elements, which I haven’t heard them do since "Harder To Breathe" became a massive hit. It’s a strip-club anthem and a welcome hiccup on an album full of relatively lighter and fusion oriented songs.

Overall, the album features exactly what I loved about Maroon 5 from their first album. The band have taken elements from their past work, polished the rough edges, and created a cracker of an album that is a joy to listen to from start to finish. It’s not perfect by any means, but the strengths easily outweigh the few negatives (e.g. weaker, boring tracks). It’s also not novel or challenging in any way, but it still brings a smile to your face. I highly recommend you get your hands all over this.

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FINAL RATING: 3/5

The Script came as a welcome surprise to me back in 2008. The Irish trio crafted a debut album full of beautiful melodies and sing-along choruses. However, that album, although strong, had its drawbacks. Apart from the singles, the second half of the album was plagued with weak and forgettable tracks. The new album, Science & Faith, finds the band returning to confute the critics and prove that they’re more than just an overnight success story.

“You Won’t Feel a Thing” is an appropriate name for the opening tune of the album. It’s a general dose of anaesthesia, like laughing gas, to prepare you for the rest of the album. I don’t mean that in a derogatory sense. But, the album is replete with lyrics of love lost and chances exhausted. It might be too much “pain” for some listeners to deal with as lead singer Danny takes them on a whirlwind tour of his damaged heart and broken spirit. As a result, the opening track is the brightest sounding track on this collection and sounds like a U2 throwaway.  The first single “For the First Time” is indicative of this. It’s a poignant story of a couple trying to keep it together in these deplorable economic times. It’s similar in scope to the Bon Jovi classic “Livin’ on a Prayer”, and that’s a great compliment. The rest of the album continues its downward spiral through the singer’s bleak heart with tracks like Nothing, If You Ever Come Back and Science & Faith. The latter features a great beat and an infectious chorus, which builds to an even bigger crescendo. It would be my choice for the next single. The tracks “This Is Love” and “Walk Away” also feature the band’s proclivity to hip hop, with the former featuring a rap breakdown. It’s all very straightforward indie-pop-rock but sounds consistent throughout.

Still, it’s a relatively safe album and primed for heavy radio-play, and there’s nothing wrong with that. It’s still a competent record and improves upon their debut album in most aspects. However, I do miss the risks they took with their first album because the mish-mash of various styles is only available in limited quantities here. Moreover, it’s fairly predictable in content, but the band’s skill keeps things from drowning in the deep end of the lead singer’s turbulent lovelife. Overall, The Script have got their act down to a science with this album and you would be wise to show some faith in it.

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FINAL RATING: 3/5

Last night, at a pub, I was enjoying a ginger ale, courtesy of a pretty girl, amongst friends, old and new. At some point during our conversation, we all started trading music and discussing our favourite books. Once I understood their musical tastes, I introduced them to “Hey Lady”. It was an instant hit. Their eyes were closed in empyrean bliss; their heads were swaying to the beat; and they were discovering new worlds through imagination. The power of music.

More appropriately, this is the power of Thriving Ivory. Every song tells a different story. They sing the words which you could never say. It’s music for the romantics. If you listen to Daughtry, Goo Goo Dolls or OneRepublic  then you know exactly what you’re in for.  Still, the band knows how to give every song its own identity and maintain their originality. They belong to an over-saturated genre, but never sound like a cliché. The apposite lyrics will bring a smile to your face. Meanwhile, the piano driven U2-like melodies and harmonies married with the lead singer’s Chris Martin-esque delivery always keep things interesting.

It’s also a step up from their debut album. The songs are much faster and grander in scope. Tracks like “Run” and “Motorcade” invoke feelings of freedom and just getting away from the world. “On your Side” and “While The Candle Still Burns” should appease the love-lorn out there. “Moonlight” is the kind of song you’d hear playing in the background as you walk across Manhattan Bridge on an autumn night. It’s music best enjoyed with an overactive imagination. Simply put, beautiful and mellifluous.

At the same time it’s still very commercial and generic pop-rock. I wouldn’t be surprised if the band finds themselves on a lot of soundtracks. But who cares. If you loved the band before, you’ll adore this album. If you’re new to them, you might be turned off by the predictability bestowed upon them by their genre. Overall, the fact remains that it is a fantastic feel-good record and totally worth wasting time on.

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FINAL RATING: 5/5