Released by: Frontiers Music
Release date: 19th February 2016
Genre: Classic Rock
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Andreas Zata Eriksson-Guitars
Until I Die
High Flying Gypsy
Bleed For You
Girl Got A Gun
Opening track Until I Die rubber stamps that immediately. The uncanniness to Purples’ Perfect Strangers hits you straight off with a blissful thump of Hammond. A brutish retro licked riff bullies its way through what is a jaw dropper of an opening track. It also introduces the bands trump card, vocalist Nathan James. The Reading man has lent his god given talent to the likes of Uli Jon Roth and Trans-Siberian Orchestra, and he makes an immediate impact on this album with an immaculate classic rock delivery.
If the predictions surrounding this band turn out to be accurate and the group are jet propelled to rock’s major league, it’s tracks like the full throttle Breakaway and the cock sure grooves of High Flying Gypsy that will help them on their way. And Holy Water won’t do them any harm either, drenched in everything that is great about proper blues-rock; the Goliath of a chorus will stop you in your tracks at the first spin. They have pulled out all the stops on this track, which has classic written all over it. On Warning, you think at first they’re heading down the blues route again but in a more southern fashion. That thought quickly evaporates as they launch into a bulldozing metal frenzy. Packed with enough galloping fury to make Iron Maiden blush, the boys show off another string to their bow in relentless style. Nathan James whips out his A game with some manicured yelling and the axe duo of Eriksson and Taylor completely wreck the place with serious barbarity.
Bleed For You might not be a power ballad in the traditional sense, but there’s still enough of a nostalgic nod to the greats to have you reaching for your lighter. Girl Got A Gun doesn’t quite hit you between the eyes as much as the previous tracks; sounding a little lethargic at times, it still grinds out a filthy little riff that covers the cracks. Although Inglorious influences are thoroughly encased in seventies and eighties rock, You’re Mine does have a modern metal vibe flowing through it, featuring some more vocal savagery from James, it’s gritty rhythm and seductive little chorus embellish this track.
You would think that a band with this quality of material embarking on a début album would take the safe option and bag themselves a road-tested producer. Not Inglorious, having toyed with the idea of drafting in Chris Kimsey, who’s CV boasts the likes of The Who and the Rolling Stones, they took the ballsy decision to go it alone. And the results are damn impressive. Especially title track Inglorious, which in parts leans towards a Queen influence with its regal stomp. An ambitious track, but it’s pulled off here with ease.
They strip down to the bare bones on Wake, a beautiful acoustic led ballad that if all things were fair would have the same impact on the airwaves that Extreme’s monster hit More Than Words had back in the day. Closing track Unaware, leaves you in no doubt of the bands song writing prowess, a well crafted slice of melodic rock which opens with some slick smoky jazz piano just to throw you off the scent. A majestic way to close what is simply a fine rock album, one that will take some beating from any band, including themselves. If music of this grain is to properly return to the glory days, it’s safe to say Inglorious will be on the frontline leading the charge.
Written by: Brian Boyle
Ratings: Brian 10/10