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INHUMAN REMNANTS
Inattentional Blindness
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Not Just Tits In A Corset: Celebrating Women In Metal
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Hear Me
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Melana Chasmata
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Empire Of The Undead
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HARDWARES

VOODOO CIRCLE

More Than One Way Home

(AFM)

Reviewed by : Mark Gromen
Rating : 8.5

Third edition of lively British blues rock from PRIMAL FEAR guitarist Alex Beyrodt, worshipping at the altar of David Coverdale’s WHITESNAKE, somewhere between the 80s mega-hits and Ready And Willing. There’s even a song called ‘Saint And The Sinner’ (pretty close to a Coverdale album title). Truth be told, the sixstringer also has an affinity for Ritchie Blackmore, albeit toned down here, compared to the VOODOO CIRCLE debut. Neither is a bad thing, in my book! While the album begins with a blast of energy, in the form of ‘Graveyard City’, Beyrodt slides it into Snake mode with ‘Tears In The Rain’, a mid-tempo groove punctuated by his fleet-fingered handiwork and a hint of keys. Speaking of liturgical pipe organ, the grand strains introduce ‘Cry For Love’, a pop ballad from another era. Acoustic guitar begins ‘Alissa’. PINK CREAM 69 singer David Readman channels the better known tanned Brit frontman on ‘Heart Of Babylon’. A certain DEEP PURPLE vibe runs throughout ‘Ghost In Your Heart’, while ‘Bane Of My Existence’ is another barn burner, similar to the opener. The title cut is another retro slither of ‘Snake. ‘The Killer In You’ is the most aggressive guitar number amongst the original dozen (there’s a pair of extras on the extended version), though Beyrodt keeps it tuneful. The concluding ‘Open Your Eyes’ kicks off/ends with crowd noise that insinuates the galloping track was recorded live, regardless it’s a winner. A marriage of PURPLE/early RAINBOW, thanks to the Ian Paice inspired shuffle drumming, Don Airey-ish keyboards and Beyrodt’s Middle Eastern guitar flourish. With regards to the bonus tracks, ‘Shape Of Things To Come’ sees the guitar and keys trade licks in the final third and Hammond begun ‘Castles Burn’ seems a outtake deleted from one of the Dio era RAINBOW platters. Strong enough to have been on the main disc, yet stylistic, a bit of an outlier (and perhaps too similar minded to the aforementioned ‘Open Your Eyes), it’s another standout moment for Byrodt, as well as those omnipresent keys.



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