The Trophy's "The Gift of Life" is far and away from a traditional AOR album. The only true ties to the genre are miniscule (and there nonetheless) and number all of...two. First is Michael Bormann himself. He's usually associated with AOR projects because his voice is such a natural fit for them. Secondly are the scattered melody rich choruses. The rest is more along the lines of modern heavy rock that whispers of "Hope" Harem Scarem, "Domino Effect" Gotthard, "Transistor" TNT but a shade darker and more modern than any of these. Plenty of good songs lurk around here, skulking about in all this swampy edged darkness. Fuzzy guitars and Bormann's emotionally naked exposed vocals bring a soothing melting of worlds into one dangerously delicious dip of wound poking harsh rock.

"The Gift of Life" - Bouncy effects, stark piano and voice expressing this impenetrable wall of grief and cracking a bit to show the shades of wonder on the other side. A religious experience or simply the awestruck from learning first hand about the circle of life? Perhaps the two are intermingled here amongst the weirdly dread twisting guitars. They are so dark and downed for a song that should be light, hopeful and airy, which it is none of these things but still.

"When The Nightmares Wake Me" - Beautiful vocals born from embers of hope illuminate an otherwise bare boned song. Bormann's personality is the shining target here, oozing out of the speakers with the silken persuasion of a hushed dark god dreaming dreams of the holy. Guitars are all wrapped up in their fuzzies, synth effects are string plucked charms and the continuous purr of ambience. Slower than some, it unfurls like the banner of a grey velvet ribbon, rippling black.

"Get the Cup" is Gotthard meets Harem Scarem at the crossroads, with an anthemic 80s power rock track at its heart trying fiercely to burst out. Jaunty melodic upbeat music that flaunts lots of "whoas" and a pumped super positive spirit with all the enthusiasm and blind battle victorious instincts of a hummingbird defending his sugar water source - but hyped on speed. Seems like this one is some kind of pre-game pump up for a sports team. Cheesy, fluffy and catchy as hell.

"Justice" has a main theme of "Life can be so unfair." No kidding, ya? Thick guitar laid on as slabs of electric concrete push the boundaries of the ludicrous "AOR" description while a ball of melody rolls around and keeps it all together.

"Rescue Me" slinks out, opening like a lacy/angsty goth song, THIS ONE drips down into the tragic story related through the twisted torturous first person perspective. An accident resulting in a child-pedestrian hit-by-car death is wrestled here by the surviving driver. His tarnished soul is blackened by this split second, life stealing mistake. A suitably dark, powerful song, the subject matter treated with sensitive intensity.

"Can't Get Out Of My Head" has murky abrasive guitars lashing up against the obsession pulled drowner of a chorus. Paranoia laced vocals bounce between speakers in a hypnotic manner while the perfect timekeeper of programmed percussion give structure to the swirly, dark heavy music that has a satisfying pop to it.

"Gloomy Days" - Cut up a slice of darkness and explore the trivial and trite. Absolutely killer guitar melodies and rapid vocal rhythm makes this one quick to latch and easy to love. Very Gotthard in its overall nature, it has that wicked pulsation in the six string approach giving flavor to its tastiness.

"Shades of Grey" - Harem Scarem-ish lyrics and devilishly satisfying guitars zipping with that modern-esque down tuned fuzzy electric purr. Bormann's vocals make this a track that connects. Skimming a tad under the midtempo mark, it aims deep and comes out smooth and very...grey.

"Liar" - Hollow pattering of drums are flooded by synth and vocals as the track works itself out as a heavy rock song that gambles on the attractive grip of its chorus and wins the bet easily. Thick as a rumbly warning and desirable all the same.

"The Way" - Flinging verses out in wild abandon, all drenched in the shadowy layers are whisked up by convictions echoed in the chorus. Warped percussion gives it a strange, slick feels. Slippery pacing, deeply cutting electric breaking the surface with all the delicacy of stakes driven in by sledgehammers.

"On These Wings" - Effects striking in and out like slithery mad vipers, has a chorus of pure assurance, the verses a reprieve from those Ginsu-sharp guitars. A heavy midtempo filler that is paced the same as everything else on the album. A flash of scaly flair, but nothing that particularly pops out... unlike that snake in the grass.

The Trophy has more good songs than bad and is an overall satisfying moody album that's highest value is its consistency. Songs flow together by their same-tempered natures and have been crafted with a certain mindset in blurry focus. A few pieces don't quite match the puzzle or fit poorly, however the disc as a whole is certainly worth a check. Its a connection with frail, mostly hidden emotions that many leave buried and tied close to the soul. Entertained only in the privacy of the tearooms where we break bread with our more private dark thoughts in the black corners of our mind. Here they come slinking out, spraying dark sludge in delight, like a wet wolf shaking black water from its dense fur. An album of constant tempo, fuzzed guitars and heated vocals.

Written by Alanna
Wednesday, May 6, 2009
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Ratings

Alanna: 7.5/10

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