LAMENTATIONS

The most impressive aspect of Gungfly's second album is without a doubt the electric guitar work. Many of the songs are agreeable; other's aren't. Gritty fried rock is the string that holds this sequence of jewels and rhinestones together. It is recommended to fans of Peter Frampton and The Dear Hunter.

"Bringing Down the Walls" A loose rocker blends elements of modern Peter Frampton and Echolyn together for a strong start. Off-kilter guitar lines are juxtaposed with more conventional rock and roll. The second half is more intense, with abrasive screams and crunchy guitar.

"White Light" A fast rock song with an Ozzy Osbourne tinge and peppered with some blistering guitar riffs, this tune includes an acoustic interlude. While some parts are catchy, the piece as a whole remains disorderly and tricky to follow.

"Lamentations" The fanciful melodies here bridge quirky Gentle Giant nods with Jethro Tull's bluesy folk music, making this a fun adventure of a song.

"Peace at Mind" Keeping pace with the blues, the fourth track's main riff has a slight "falling down the stairs" quality to it before rocking out in the refrain. Again, the modern-day Peter Frampton sound is very much there, only with traces of Alice in Chains from time to time and a touch of Mellotron.

"The Game" Gritty guitar and Spanish horn offer a fusion of indie, surf, and Latin rock. The vocals have a dull inflection and an aged tone.

"Sleight of Hand" Edging back into hard rock, this song suddenly changes shape altogether, becoming a laidback R&B number. Regardless of these stylistic changes, the composition remains shaky throughout, lacking the integrity of solid transitions or memorable melodies.

"In This House" The most forgettable song on the album is a nondescript rocker with boisterous vocals. While I can see how this tune might appeal to others, for me it fails to move or impress me the way some of the other tracks do.

"And She Drives Me..." In stark contrast to the previous song (and the album as a whole), this song offers an easygoing piano with a very nice chord progression and light, pleasant singing.

"We Will Never Leave" The longest track mixes moody Mellotron lines with progressive metal leanings and cantankerous lyrics. Offering variety and a morose transition, the wailing of a synthesizer lead escorts the listener into an atmospheric middle passage of dim thunder and gloomy piano. It quite expectedly returns to the hard rock of before. While the vocal melody is enjoyable, the lyrics tend toward 1980s power metal cheese at best or adolescent poetry at worst. Overall, I think this is a respectable composition, even if it is not the best the album has to offer.

"Shape of Days to Come" A moderate rocker with pensive and hopeful lyrics that contrast with the somewhat pessimistic music, the final song puts drearily good melodies next to a bit of unexpected jazz country at the end.