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Skull Daze - 'Skull Daze' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/2b/af/dc/600_skulldazeskulldaze_1285099100.jpg Hot

Added by Central Electronic Brain     September 21, 2010    
 
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Skull Daze's self-titled full-length boasts a brace of decent, respectable cuts, even though they fall short of being extremely outstanding.

Street Symphonies unveil their latest signing in the guise of Italian glam metal group Skull Daze, issuing a self-titled full-length. In October 2008, Skull Daze had released four-track EP 'Dangertainment' a year into the band's existence.

Rain immediately followed by air raid sirens adorns the opening track (‘Intro’), with pandemonium on the streets that's book-ended by a woman's scream. Guitars inevitably chug, announcing the arrival of ‘Back to Hell’. Rock 'n' roll oriented, dual guitars from axemen Acey Starlight and Danny Slade wail here, there and everywhere, as is the case upon other tracks including ‘Heartbreak City’, ‘Dirty Girl’ and ‘Nowhere to Run’. Staunch choruses, vital in the glam metal sphere, are ever present, particularly on numbers like ‘Back to Hell’ and ‘Nothin'‘.

‘Heartbreak City’ suggests there's more to Johnny Rainbow's vocals - which are cleaner here than the grittier snarl exhibited earlier - and the band in general. This facet is something it'd be interesting to see Rainbow and Skull Daze develop. A change in pace, the composition is the closest the quintet come to cutting a ballad. Rainbow attempts this vocal approach yet again upon ‘Heartless Love’, but doesn't achieve quite as much. Replete with guitar flourishes and sprints, ‘Believe’ adheres to the formula established by tracks aired prior to ‘Heartbreak City’.

Lyrically, Rainbow has to be rightly criticised. Writing lyrical tales with cliched titles like ‘Sex Drugs And Rock 'N' Roll’, ‘Heartbreak City’ and ‘Dirty Girl’ suggests someone who's uninspired, and needs to invest much greater thought into their lyrics.

Skull Daze's self-titled full-length boasts a brace of decent, respectable cuts, even though they fall short of being extremely outstanding. If you were among the many that rocked out to the likes of Motley Crue and Ratt back in the eighties, then this glam-tastic effort might be a trip down memory lane. Stage names like Johnny Rainbow and Acey Starlight do the outfit no favours, however, and should be immediately shed in a bid to gain wider, more serious recognition.

A. C. W. Morgan

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