Kevin Ridley – Flying In The Face Of Logic – Review

There’s no place like home.  That’s exactly what Kevin Ridley is proposing to us with his debut solo album Flying In the Face Of Logic.  The long-time Skyclad producer and vocalist for last two albums takes us back to his first record with the folk metal pioneers, A Semblance Of Normality, by gracefully returning to explore his North-East roots.

                                               

For a debut solo attempt Ridley hasn’t done too badly by any means, but there are a couple of annoying, repetitive songs that put a brief negative slant on the album.

One thing Ridley doesn’t do wrongly is tell us exactly what a filthy big pile of rubbish The Angel Of The North is.  But he does shed a tear of reflection when he attaches a certain sentimentality to the structure – proving that the simplest of things, regardless of their nature, can provide a catalyst of inspiration when connoted with images of home.  Simply named Angel At Harlow Green, it’s a fine folk tune that gives us a good idea of just what we should expect by track three.

Good Intentions is, by far, an absolute standout hit.  It’s comparatively bigger and increasingly epic chorus, simple galloping bass line and ambitious but lushly executed harmonies reveal Ridley’s finest four-minutes.  It is just a shame the track is followed up later by the annoying fast quipped lyrics and poor repetitive chorus of (We All Get) Where We Want To Go.  Whereas the bass line of Good Intentions proved just how simple, minimal notes can be effective, the droning lack of variety does it no favours here.

Which Is Why wouldn’t be a low point in the album if it wasn’t for the similar reasons of repetition but this time exclusively in the acoustic work of the chorus.  Luckily for the listener, there’s the deliciously heavier They Dance Till Tomorrow, with a fantastic unison of folk instrumentation welded and weaved intricately into the mainframe of huge riffs and an impressive section of soloing to match.  Lost For Words settles the sombre, contemplative mood before the Flying Outro fades.  A good debut effort from the veteran Skyclad singer, and a one that not only indicates he’s made the transition to solo artist well enough but also showcases a promising potential.

6/10

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