HOUSTON: Iv (A.O.R.): review / opinion to read on Music Waves

For some time now, we have been witnessing a multiplication of Swedish bands offering opuses that take us directly back to the 80s. This exercise sometimes offers albums of a quality that would have undoubtedly been a success in this blessed era, but it is also limited in its capacity to make the genre evolve. Moreover, it is particularly difficult to stand out from the crowd for some combos who decided to launch themselves in this style. Houston is one of those talented bands that have a hard time finding a place on the front of a scene already occupied by Work Of Art or State Of Salazar.

However, it could well be that "IV" will allow them to move to the next level. What a magic number this "four" which already made the success of Toto ("IV" - 1982) and Foreigner ("4" - 1981). Four also like the magic square of the AOR of the 80's which, to the two legends previously mentioned, sees Journey and Survivor added. It is besides to the latter that this opus seems to want to pay homage mainly. It is true that the voice of Hank Erix often takes tones worthy of Jimi Jamison, but the quintet of Stockholm pushes here the resemblance much further, to the point of proposing a 'Heart Of A Warrior' which resembles like two s of water to a demo of the famous 'Eye Of The Tiger' (1982). There are many references to Jim Peterik and Frankie Sullivan's combo and we'll let you have the pleasure of spotting them without resisting the pleasure of drawing your attention to the introduction of 'I Will Not Give In To Despair'.

Nevertheless, it would be unfair to limit "IV" to a simple Survivor clone as this opus is full of qualities. First of all, there is the superb production made by the returning Ricky Delin who was the keyboardist of the band on the first two albums before moving behind the controls and getting the fame he has now. The band's sound is also enhanced by the arrival of Richard Hamilton on synthesizers. He marks his territory from the introduction of the opener 'She Is The Night' with its velvety textures, its bewitching atmosphere, its catchy chorus and its luminous solo. Because, like this title, the whole album is full of melodic nuggets which, if they are not of a blinding originality, are not less an enchantment for the amateurs of the style, in particular if these last ones keep a point of melancholy for the period of the 80's.

By assuming its influences, "IV" sees Houston offering a superb tribute to the best AOR of the legendary years while finding the identity of its first opus. This album doesn't suffer from any dead time and avoids the pitfall of the endless ballad that rarely brings anything interesting. Dynamic, full of melodies and unstoppable choruses and masterly executed, "IV" makes you forget the shadows of its influences so that the listener only retains the happiness of enjoying its eleven nuggets. - Official website

HOUSTON

IV

FRONTIERS RECORDS

A.O.R.