Artist: The Answer
Title: Never too Late
Label: The End Records
Genre: Hard Rock / Blues
01 Never too Late
02 Highwater or Hell
03 The Doctor
04 Come Follow me (Live in Japan)
Canned food its still one of the brightest inventions from humankind, perhaps second to the toilet, both unmistakably close to the round, but while toilet is associated with liberal tendencies, read, getting rid of waste and dead matter, and the round would be too as it is in league with movement, displacement and change; Canning instead remains as a conservative tendency that intends to preserve what is definitively condemned to perish, rot and finally disappear. It must have been incredible for the old military French troops that went to Napoleonic wars to evidence this while receiving the first canned food portions ever on earth. The apparition of refrigerators a century and a half later would take all this magic away. These days everything can be stored indefinitely, vegetables, meat and ultimately humans through cryogenics. Results now that music can be somehow canned too, whenever the audience wants to recover vibes and flavours from the past and need to wear again dusted old clothes locked inside the closet vault for thirty years the industry is ready to check in any of the trillion bands that want to return to the past and stay there for all eternity. Its time to open the can then, it reads “The answer” and the title revives the implied innuendo... “Never too late”. Is it never to late to consume? To rock n’ roll again? To sell 30,000 cans of this soup filled with a softy stew accompanied with jelly vegetables and a quartet of Irish youngsters dressed in 70s fashion swimming in the broth. For music or art for the matter, sales don’t really count as a reference for quality. There is so much crap sold in million quantities. If for once massiveness means something it is insipidity and lack of taste and originality as common norm. Canned food is reserved for the rigorous clerk who doesn’t have time, money or disposition to eat proper food and by far it’s significant of his lack of knowledge on what pleasure and authenticity means. Devoid of taste and meaning he is just consuming basic calories and “nutrients” to maintain main body functions, so does this music for the ear and the ultimately for the mind.
70’s may be over you know, but if you left something unresolved back there in your young days or perhaps you’re young enough to pretend to consume hippy standards these days of free market zombification and corporative wars then you can take a good spoonful of this beverage contained here and enjoy it plenty as it is pure entertainment full of old style reminiscences.
As usual for massive bands such like these the instrumentation displayed in the four songs that constitute the album resume a redundant impeccability that doesn’t leave a spot to whip about. Guitarist leader Paul Mahon plays in old school chords a la Led zeppelin fortunately not trying to compete with a monster like Jimmy Page and gracefully displaying a set of harmonic riffs, dirges and solos in between songs that comes as the unique jack found in their pack of cards, flashing a momentary success included in the solos on “Highwater or hell” and “The doctor”. Bass lines and drums do their work as a friendly pair of schoolmates smiling at each other and counting on the support from their teacher, perceptible and clear but nothing amusing or overly trascendental and finally vocalist: Cormac Neeson tries by all means to tear apart his vocal chords to come as high as Robert Plant or to sound as hard boned and rude like Phil Lynott (perhaps as both at the same time). In modern terms this is a band that speculates on hard rock classicism and doesn’t leave space for other inclusions or allegations. In that sense it loses the glamour and romantic savagery from counterparts such as “The darkness” and leaves no space for sound investigation on the power and twist that can be found within rocking hearts as “The white stripes” did. These boys can become the Beach boys from hard rock easily, certainly catchy and sticky, appealing for rock n’ rolling the mass in huge massive concerts where boys and girls can pretend a happy rebellious stance while corporative logos shine over their heads. Bubble gum music, you take the flavour in, you chew it for a while and then throw it away. Last song: “Come follow me” it’s a live song from a huge concert in Japan, it shows how enthusiastic is the crowd around them, but its known how Japanese can be fans from everybody.
The band is not bad though, just clichéd and while they are having a good time selling many copies for the industry and creating a huge fan base worldwide they are certainly not doing anything to really revive the long time buried spirit from rock and more specifically, hard rock music. At the very least, they are just exposing its carcass to the audience, shaking its old flaccid dead extremities and camouflaging his deadly appearance behind luminous clothes and wide baggy pants. More fashion than content, The answer is now a famous canned trademark music food made for vast amounts of people that refuse to demand anything more than entertainment for their aural meal. This is the long hard road out of hell and it’s “never too late” to walk away through its path indeed. Find “The answer” before they hit their 30s.