Not the longest album you’ll hear this year, but if that bothers you, play it twice - it still won’t disappoint.

Harmonic Generator – I’m not sure about the name but pretty impressed with the album. There’s a bit of a story to tell behind ‘When The Sun Goes Down’, moving from one side of the world to the other and the eventual release of an album recoded over two years ago. HG are a five-piece Bluesy influenced band originally hailing from Marseille, France. Determined to improve their command of English and song-writing skills, they relocated to... Australia. And whilst it may be just about the furthest possible move to achieve that aim, it certainly appears to have paid off having also picked up a whole load of attitude which immediately shone through with a raw, “couldn't give a damn” vibe that is reminiscent of classic Aussie band The Angels, combined with a bit of sleazy arrogance.

‘Bad Things’ is full of low down dirty rhythms and a chorus of “I just wanna to do, bad things to you” – full of raunchy innuendo. ‘Nobody Dies’ is probably the heaviest riff laden track on the album before ‘Fire’ brings the band’s more Bluesy, R‘n’B influences to the fore. Opening with bass and drum rhythms in tandem, it has all the swagger and retro feel that we’re currently seeing in many albums harking back to a 1970s Classic Rock feel.  

The powerful vocals of Quentin Barthes-Villegas are impressive throughout, but the real class comes with the guitar work of Charles Roussel and Renaud Satre. Great rhythms and hooks, but most importantly the impressive lead work that proves that speed and notes per second is irrelevant compared to a bit of soul and feeling in a solo.  They Rock for sure, but with plenty of sustain and restraint in their playing, all to good effect. ‘Rollin’ Free’ again hits the groove - if Van Halen re-wrote ZZ Top’s ‘Tush’ it would sound like this – with the sort of rich harmony backing vocals that crop up throughout the album.  

There’s a whole resurgence of 1970s influenced retro style at the moment with the likes of Rival Sons and BlackWolf being held up as champions of the cause, but this is an album that easily fits well and can be viewed on the same level, yet also has the antipodean feel the aforementioned Angels or even Jet. At nine tracks and little more than thirty-five minutes, it’s not the longest album you’ll hear this year, but if that bothers you, play it twice – it still won’t disappoint.

Ian Parry