Love / Hate: Black Out In The Red Room (CD)

Love / Hate

Black Out In The Red Room

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Love / Hate: Black Out In The Red Room, CD

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Label: Bad Reputation
Erscheinungstermin: 26.2.2021

Superficially, Love / Hate's debut bears all the hallmarks of sleazy, bombastic L. A. pop-metal, as popularized by Poison and Warrant, albeit with a more commanding and compelling display of pugnacity, dynamism and frenzied approach than the latter mentioned bands. Love / Hate are no more adept, substantive or superior in terms of songwriting than their pouting counterparts, but they seemed to be more inspired and raw in their performance, possibly stemming from their punk roots. Most, if not all the, second-rate pop metal acts were gifted with the ability to craft at least one infectious chart hit in their respective ephemeral lifetimes, which, in the case of Love / Hate, is the adrenaline-fueled title track, a definite forgotten classic in the vein of LA Guns.

Several of the B-list bands managed to exhibit a deviation of sorts, either stylistically or instrumentally, and it was due to their refusal to conform to the homogeny that they fell by the wayside. Love / Hate were one such band that diverged from the banality of their contemporaries by flaunting a distinct, conversely coarse, slick production combined with catchy musicianship, beefy rhythm section and harder-edged instrumentation, all of which is particularly apparent in Love's skilful guitar playing (as well sitar flourishes) Skid Rose's strong bass and Jizzy Pearl's smutty screech. Overlooking the obscenity of it all, the sheer power and druggy perspective elevate the final product towards the Skid Row style of hard rock than the glam pop of Poison. Intrinsic advantages aside, Love / Hate's glam-modulated hard rock sound, as cogently evidenced on the first power chord of the title track right up until the furious cymbal crash of the finale, remains inherently fun; despite one misstep, "Slutsy Tipsy", every song is well-executed and energetic, with the alternating "Tumbleweed" being an indication that this band had something more about them than merely sex, drugs and sarcasm - they could be inventive when they wanted to be. "Blackout In The Red Room" is impressively consolidated as a set of songs with varied arrangements and styles that work well overall, from the uncharacteristically beautiful melodies of "Mary Jane" to a foray into funk, the majority of tracks are loud, forceful and truculent and ably amplified by the gusto of the instrumentalists. Without question, there is enough virtue on this album for it to be considered among the better-quality pop metal albums of the era, or at the very least, one of the most underrated.