Band:
Ronnie Atkins (Lead vocals)
Ken Hammer (Guitar)
Rene Shades (Bass)
Allan Tschicaja (Drums)
Morten Sandager (Keyboards)
Discography:
Red Hot and Heavy (1984)
Future World (1987)
Jump The Gun (1990, released as Lethal Heroes in America)
Sin-Decade (1992)
Stripped (1993, acoustic album)
Scream (1994, not released in Europe until 1995)
Spooked (1997)
Anything Worth Doing Is Worth Overdoing (1999)
Carpe Diem (2000)
Planet Panic (2002)
Wake Up to the Real World (2006)
Pandemonium (2010)
It Comes Alive (Live 2012)
Motherland (2013)
Guests:
Info:
Jacob Hansen (Producer, mix)
Released 2014-03-21
Reviewed 2014-03-29
Links:
prettymaids.dk
myspace
youtube
last-fm
frontiers
I think it's pretty fascinating to hear these older bands that has played for 30 years and still makes album that are among their best (if not the best). There's another album released on this same label in a month from Sebastian Bach, which are among his best (if not the best). Him and Pretty Maids has made music roughly as long as each other and so see them both peak this far in to their careers are quite unique (and a bit strange - why now?) but very impressive. It shows that it's never too late to be at the top if you use your experience right and that you have he possibility to develop all the way through life. But let's focus on this fourteenth album by the Danes - what do we get this time?
Style-wise this is not very different from the last couple of albums, 'Pandemonium' and 'Motherland' with not just the same kind of music and sound but also the same kinds of songs and the same exact same people right up to the studio and producer. The sound quality is clean and clear and feels grand, which is great considering that's how the songs are made. The only exception is the first half mnute of the ninth song, called Nuclear Boomerang, which opens more like one of those cave-like black metal albums Osmose releases. However, about half a minute in to the song it turns in to one of the best tracks of the album. The heavy guitars, hammering drums and keyboard tunes can be heard throughout the 53 minutes and 12 tracks of this album. It might sound a bit single tracked but that's not how I experience it. 'Louder Than Ever' is interesting all the way through the album, though it might lack some surprises but it's still high quality and far from repetitive.
I guess it should be made clear that this album isn't completely new but consist of seven tracks from their preference that was released on the five albums between 1995 and 2006 as well as five completely new ones. However, it should be made clear that the new versions of the older songs are not particularly close to their originals. Since then Pretty Maids has developped a much larger (and better) sound and the seven newly recorded feel enough modernized to work with this new Pretty Maids sound. It might be a blow to the head if you love the original versions, I don't know for sure but you might feel they've raped them or something, and if that's the case you better stick to the originals but I personally can't see any reason why you wouldn't like these 'Louder than Ever' versions better.
However, I do like most of the five new songs better. Except for the opening track, Deranged, I'd say they all belongs to the better half of the album. If you twist my arm for a favorite, I'd say My Soul To Take which is a softer track that would work great as a single if Pretty Maids were to release one (I know they did release a couple of iTunes singles from 'Motherland' but normally they're quite sparse with them). There is also an extra treat for those who want more Pretty Maids than the album, which is a DVD-version filled with bonus material like things from their latest tour and earlier years. Definitive worth your money if you love the band.
'Louder Than Ever' does easily rank amongst the greatest Pretty Maids albums. Sure, it's not 100% new since they've rerecorded a few tracks from earlier albums but it feels new. It feels fresh. And I think it's worth your money.
HHHHHHH