Creye - II (Album Review)
Originally formed by guitarist Andreas Gullstrand back in 2015 Swedish melodic rockers Creye are back with (I’m gonna take a wild guess here) their second album. Since the release of their well-received debut in 2018, the band have gained a new singer in August Rauer and spent the majority of 2019 on the road honing their sound. The result is an impressive release that marries muscle with melody harking back to the likes of fellow Swedes Europe and Bad Habit while adding more than a hint of pop nous. RGM featured Creye late last year in our popular Hard Place feature and we thought a proper look at their latest album was well overdue.
Pulsing synths and a vocal reminiscent of Richard Marx usher in opening track ‘Broken Highway’ and although Gullstrand and fellow guitarist Fredrik Joakimsson give the song a welcome rock edge (Gullstrand also peels off an impressive solo) it’s all about Creye’s ability to spot a pop hook and deliver it with some style. The band then remind us of their rock credentials with a chunky riff setting the scene for the excellent ‘Carry On’ a song blessed with a big chorus and plenty of light and shade as the band utilize a neat musical breakdown mid-song. The quality remains high for the insistent ‘Face To Face’ where we find Creye have all the bases covered; punchy, energetic, catchy, cool chorus hook and a terrific solo from Gullstrand.
The guys do occasionally sail a little too close to the Eurovision wind with the, admittedly infectious, ’Siberia’ and ‘Can’t Stop What We Started’ with its anthemic, and no doubt crowd-pleasing, chorus. In all honesty, it’s difficult to be in any way critical when it’s this well-crafted. ‘Lost Without You’ builds rather nicely with vocalist Rauer in fine form and those really sweet harmonies are a nice touch while the guys, once again, hit the key change bullseye (Creye do like a key change). The moody, slow burn of ‘Hold Back The Night’ (not the Aldo Nova track) is a bit of a gem as vocalist Rauer tries to put the world to rights over Gullstrand and Fredrik Joakimsson’s taut guitars while keys man Joel Selsfors delivers a pleasing old-school solo. The quality on display holds up with plenty of good tunes to be found as we go deep into the album. ‘Closer’ is another worthy addition as Gullstrand’s opening guitar salvo sets the scene and he’s joined by his guitar partner Joakimsson to cleverly underpin the verses before Gullstrand returns to peel off another fluid solo. You’ve got to applaud Creye that they can pull off a song like ‘The Greatest’ with its incredibly cheesy “Someday, somehow we’ll be the greatest” refrain with such skill that you not only believe them, you’re rooting for them to succeed.
Blessed with a fine singer and an impressive knack for a hook Creye aren’t looking to reinvent the wheel but few bands are doing this sorta thing as well as this Swedish sextet. Their mix of guitar punch, pulsing synths and infectious melodies should work well enough to keep the melodic rock diehards happy. The only caveat I’d add to this is some listeners, who prefer a more organic sound, will find the occasional use of programmed drums and various other bits of synthetic sweetening a step too far, but if you’re not averse to a good pop tune Creye’s latest is well worth your time.
When you think of progressive rock/metal concept albums, one name springs instantly to mind, Arjen Lucassen. It could have all been so different for Lucassen, as his 1993 solo album, released under the Anthony moniker, ‘Pools Of Sorrow, Waves Of Joy’ was met with indifference by the record-buying public (finding a copy thirty years later will be a long and expensive search). Seemingly undaunted and already a hard rock veteran after stints in Bodine and Vengeance, Lucassen pushed on regardless, his determination resulting in a slew of projects that played a crucial role in revitalising the progressive rock/metal scene via releases under the Ayreon, Ambeon, Guilt Machine and Star One banners while still finding time for guest appearances and contributions to albums by leading lights of the scene such as Within Temptation and Avantasia. For this project, Lucassen has put his little black book of names to one side (Lucassen has enlisted many performers on his star-studded albums, especially singers) and settled on a band project, it’s still essentially a concept record in the Lucassen tradition, but he looks to be out to have a little fun, and the results are glorious.