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Märvel - 'At The Sunshine Factory' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/4a/30/8f/marvel-at-the-sunshine-factory-39-1524160331.jpg Hot

Added by Central Electronic Brain     April 19, 2018    
 
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While there are many people who love this style of music, they generally already have their heroes and favourite songs.

'At The Sunshine Factory' is the seventh album from this Swedish band. Their upbeat press release betrays a renewed resolve to get recognition of their work across the world. A threesome consisting of King (vocals and guitars), Burgher (bass) and Vicar (drums), their approach is retro, almost poppy, that takes us back to a period when Rock was mainstream, a time that is sadly no more.

Opening with an acoustic intro for 'A Killing View', there is a folky, almost Progressive feel to this track that reminds me slightly of Focus without the flute, however, it soon lets loose with an intense electric guitar solo betraying some Hard Rock roots. 'The Secret Grand Prix' has the same frenetic feel, but with a more bluesy guitar solo. There is a definite seventies, slightly hippy vibe about this material.



'Goodluck Sandy' starts like Suzi Quatro's 'If You Can't Give Me Love' and has the sound of a seventies Pop chart song with a slightly Spanish sounding "sangria holiday" song vibe. 'Heart & Balls' has a catchy and determined Pop song feel with prominent Rock guitar solos, while 'Smile Mr. Steen' continues the pre-eighties approach with some interesting percussion and a slightly early Deep Purple feel. 'Monsters Grow In The Dark' has a grandstanding chorus giving the impression this is (for them at least) one of the showcase tracks of the album. 'Child' has a bit of a Sweet feel that harks back to the glories of Glam Rock.

While there are many people who love this style of music, they generally already have their heroes and favourite songs. Being self-produced, the production techniques also come across as primitive and authentically seventies (now replaced in the world of music by a more sophisticated modern approach). Although this may be considered charming, critics might say it sounds dated and stuck in a time warp. Honestly, I cannot think automatically of what group or type of people are looking for new music with such a faithful recreation of a time that's already populated with classics and legends who, since it's 2017*, have all moved on.

Dawn Osborne

(* this review is from Fireworks Magazine #81)

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