Apocalyptic Love - official reviews

[Original GNR]

http://www.gearsofrock.com/2012/05/15/review-slash-apocalyptic-love-2012/

Review: Slash “Apocalyptic Love” [2012]

Posted on May 15, 2012 by gearsofrock

Rating: 4.5/5

Legendary hard rock guitarist Slash returns with his best offering since Velvet Revolver’s Libertad album in 2007. His new album Apocalyptic Love is an absolute pleasure chest of rock.

The title track leads off the record with an aggressive wah-wah frenzy featuring the soaring vocals of Myles Kennedy. But this is only the beginning. “One Last Thrill,” the second song, is when the album fully ignites into liftoff. A raucous punk rock battle royale, the track features Slash and Kennedy feeding off of each others’ mayhem.

For brilliant usage of the left and right guitar channels, look no further than “Standing in the Sun,” a hard and groovy number with solidly executed Slash leads.

“You’re a Lie,” the record’s first released single, has a lot of great stuff going on from good guitar tone to high energy. “No More Heroes” contains a cool Sweet Child-esque lead in the pre-choruses and “Halo” is a fist pumping delicacy.

The most fun guitar riff on the album—that will be replicated by thousands of aspiring teenage guitarists all over the world—follows the classical Bach intro of “Anastasia.” “Shots Fired” and ”Hard and Fast” are speedy head bangers also chockfull of rivalrous riff-age.

I was surprised to find so few ballads on Apocalyptic Love. It takes nine tracks before the journey slows down for “Not For Me,” a 90′s sounding alternative rock radio track. “Far and Away” is the most beautiful number on the album with an epic build up that allows Kennedy to fully demonstrate his wide vocal range.

The backing musicians selected by Slash are top-notch pros deserving of a lot of credit. On bass duty and backing vocals is Todd Kerns of Las Vegas’ Sin City Sinner while seasoned veteran banger Brent Fitz tackles the drum duties.

Slash’s Apocalyptic Love is a killer guitar album that shines. I really love listening to it with headphones because of Eric Valentines excellent mixing and production job. Don’t wait on this one. Grab the album on May 22 and go see Slash live. He is once again back to kicking ass with a cool band.

[Original GNR]

http://www.ft.com/cms/s/0/25da7d10-9eff-11e1-9cc8-00144feabdc0.html#axzz1vH3yyjEL

Slash: Apocalyptic Love

Rating: 4/5

Former Guns N’ Roses guitarist’s new album opens with, ahem, a bang.

Fires rage, the sky burns: the world is ending. Beneath top hat and curls of hair Slash’s thoughts turn to … one last roll in the hay with a Sunset Strip hottie. Such is the doomsday scenario of Apocalyptic Love’s title track (“This is the last time/Oh, oh/Don’t care how we do it”), which ensures the former Guns N’ Roses guitarist’s new album opens with, ahem, a bang.

“One Last Thrill” is lithe Sex Pistols-style punk, “Standing in the Sun” revisits the fast boogying riffs of his old band’s “Paradise City”, while the pseudo-classical soloing in “Anastasia” is Beethoven ditching the yawnsome piano sonatas for guitar-shredding. It’s a vast improvement on the veteran LA reprobate’s dull solo debut, aided by the presence of Alter Bridge’s powerful frontman Myles Kennedy on vocals.

http://www.stereoboard.com/content/view/172688/9

SLASH - APOCALYPTIC LOVE (ALBUM REVIEW)

Friday, 18 May 2012 Written by Heather McDaid

Fans of Slash’s self-titled effort will be accustomed to a sense of variety, one that saw everyone from Alice Cooper and Dave Grohl to Nicole Scherzinger and Fergie chip in to create everything from the more heartfelt love song to the down and dirty rock ‘n’ roll assaults. After the unsurprisingly stellar vocal offerings of Myles Kennedy on this release, and the role as vocalist on the touring schedule that followed, it was no surprise to hear that he would be taking on sole vocal duties on the self-titled’s successor ‘Apocalyptic Love’.

Needless to say, it does not disappoint. Even on a first listen, there’s a certain swagger to it that makes you want to dance around your living room with the occasional air guitar. The likes of the already released ‘You’re A Lie’ is a prime example – it’s big, it’s got down and dirty riffs, easy to pick up lyrics, sleek solos and the chorus just begs for you to get off your ass and start moving. The likes of this will undoubtedly kill it in a live capacity.

The main pairing of this record is, of course, Slash’s guitar playing and Myles’ stellar vocals. Throughout they create a mix of exciting numbers. One – ‘Anastasia’ – lures the listener in with elegant classic guitar before a dramatic electric onslaught ensues; Myles then takes centre stage with his notable vocals, flitting from stand-out verses to more subdued vibes.

Countering the ambush of hard rock, ‘Not For Me’ slows things right down, elegant guitar backing restrained vocals through the introduction before the song opens up, with a ‘big’ feel to it. It’s applicable to most of this album – it feels big, it feels suited for soaring across the grounds of arenas.

Some would argue Slash isn’t treading a whole lot of new ground; perhaps he could try a mash of new styles – but that is just playing devil’s advocate. This is a straight up rock ‘n’ roll record and the pairing of Myles Kennedy and Slash is a very exciting one. Some moments feel reminiscent of Guns N’ Roses, some have that Velvet Revolver grind, but this record takes the best of their past work and takes it to a new level.

One listen and you’re hooked, more listens and you’ve got most of it jammed in your head. Slash’s first record was pretty great, but this one is infinitely better. The next step is to see how they go down live; I’d hasten a guess at very, very well.

Edited May 19, 2012 by Original GNR

[FuddMckagan]

My review:

Apocalyptic Love: Good song to open with, nice energy and great groove. Lyrics are fun and I think Myles delivers on this one. 8/10

One Last Thrill: Took a while for me to appreciate this one. Kind of reminds me of Snakepit, but Myles' voice doesn't quite to it justice. Funky though. 7/10

Standing In The Sun: I really like Myles on this one. Kind of Soundgarden-esque, which I dig. Good solo and nice riff. 8/10

You're A Lie: Didn't like it when it first came out, but when I saw the video of them playing it on Jimmy Kimmel I started to like it. I think this will be a good live song. Anyway, kinda generic, and the chorus doesn't quite match the verse. Listenable though. 7/10

No More Heroes: The first song of the "awesome song streak" I've mentioned. I really like the video game-sounding guitar melody, and the chorus has really grown on me. 9/10

Halo: Another song which I think will be great live. A little more metal sounding than the other songs, and another chorus that caught on with me. Like the little bridge part where it drops down too. 9/10

We Will Roam: A little lighter, still a nice catchy song. Probably the weakest in the streak, but it is still in the streak which means it's awesome. 8.5/10

Anastasia: Like everyone else has said, this is awesome. One of the best songs Slash has done. Love the neo-classical melody, love the Spanish sounding guitar solo's. One of Myles' best vocals on the record. Just a damn good song. 10/10

Not For Me: Love the sort of sad nature to this song. Love the lyrics and the vocals, Myles' really shines here. Great guitar work, really like how it builds up to an awesome end. Second best on the album. 10/10

Bad Rain: I believe I've called this my bad ass song. It simply makes you feel like a bad ass. Catchy as hell, makes you want to strut around. Great stuff. 10/10

Hard And Fast: Could be that it's directly after the awesome streak that makes it seem a little worse, but didn't really catch my ear. Like One Last Thrill, is sorta Snakepit sounding. Rod Jackson would've sounded great on this, Myles not as much. 6.5/10

Far And Away: Was a bit light for me at first, but has grown on me. Nice solo. I think it could've been better though. 6/10

Shots Fired: Just a straight up rock n f'n roll song. 8/10

Carolina: Really like this one. Love the return of the talkbox, groovy as hell and it's probably been the most stuck in my head of any song on the album. 9/10

Crazy Life: Love the chorus in this one, and I don't know why. A good way to end the album, Myles sounds great. 8/10

Conclusion: Hell of a lot better than his first solo effort. You can really hear that the band clicks, and from what I've heard (and seen myself) it's a damn good live show. This is one of the best albums Slash has done post-GnR. I'm a big fan of most of the vocals on the album, I think Myles' did a great job. A lot of damn good lyrics too. Overall, just a solid rock album with some refreshing ideas and sounds. Gets me excited to see him in August.

Overall: 8.5/10

[dario27]

thx Fudd i would agree mostly on your music taste i guess.

though i would give the album a good 8.7/10

my favourites so far

Halo, We Will Roam, Anastasia, Not For Me, Shots Fired

the good ones, Standing On The Sun, Bad Rain, Crazy Life, One Last Thrill, No More Heroes.

the rest are OK for me, and Far and Away i agree, they could've done something else with it, but the Outro is awesome.

[Original GNR]

http://loudwire.com/slash-apocalyptic-love-album-review/

SLASH, ‘APOCALYPTIC LOVE’ – ALBUM REVIEW

Rating: 4/5

Fresh off his induction to the Rock and Roll Hall of Fame with his former band Guns N’ Roses, guitar great Slash returns with his second solo disc, ‘Apocalyptic Love.’

With his debut self-titled disc, Slash tested the waters, conducting a musical experiment boasting a wide array of guest vocalists from Fergie of the Black Eyed Peas to shock rocker Alice Cooper offering a slew sounds and styles.

On ‘Apocalyptic Love,’ Slash continues to experiment with different sounds but has clearly fallen into a more comfortable groove of relying solely on lead vocalist Myles Kennedy rather than a singer-by-committee approach, and with good reason.

While the album title ‘Apocalyptic Love’ may conjure up images of the amorous undead, this disc is chock full of life. The title track kicks off with a funkified guitar intro and proves to be a true love story as Kennedy’s vocals wail, “This is the last time Whoa-oh / Don’t care how we do it as long as we make love under the same sky / All we’ve got is tonight.” By the end of the song you realize what a perfect pairing Kennedy and Slash truly are. Kennedy has the chops to keep up with Slash note for note, regardless of where he takes the song – and let’s face it, with Slash that could be anywhere.

‘One Last Thrill’ and ‘Shots Fired’ are as close to vintage GN’R as it gets on this disc, and that’s more than enough to leave one satisfied. ‘One Last Thrill’ proves to be a gritty, up-tempo rocker that speeds through the chorus and leaves you feeling a little dirty just for being in the same soundscape. ‘Shots Fired’ is a bold-faced rocker driven by a speedy little drum beat and classic sing-a-long choruses before Slash unleashes an epic guitar solo. It’s hard not to picture him slouched back, top hat firmly in place, as he tears through the riff.

‘Anastasia’ starts off with classic elegance delivered courtesy of Slash and his six-string before the rock band behind him demands to be heard and takes the song to new heights. The beautiful ballad ‘Far and Away’ is where Slash and company prove their true diversity and tests Kennedy’s vocal abilities. We know he can sing rock anthems but he can also go the opposite direction exuding raw emotion through his voice for the softer songs.

What makes this disc so appealing is the sheer diversity of it. Proving his true jack-of-all-trades abilities, the songs range from straight-up rockers to bluesy infused tunes to even the softer side of Slash with classical and cinematic elements – all in all, a well-rounded offering proving that he’s no one-trick pony.

Billed as a solo effort relying on the star power of the Slash brand, ‘Apocalyptic Love’ is definitely no one man show. While Slash’s guitar gymnastics are certainly the star, the supporting cast of Kennedy on vocals, Brent Fitz on drums and Todd Kerns on bass help prove that when the right pieces fall into place, rock ‘n’ roll will always persevere.

Given the drama of the last few months over the Guns N’ Roses Rock Hall induction, it’s nice to see a return to rock at its purest form - letting the music speak for itself. On ‘Apocalyptic Love,’ which has already yielded the hit single ‘You’re a Lie,’ it’s plain to hear that Slash is speaking louder than ever.

[Original GNR]

http://indulge-sound.com/2012/05/18/review-slash-apocalyptic-love/

Review: Slash – ‘Apocalyptic Love’

With Slash’s self-titled offering being packed with contributors from shock rock veteran Alice Cooper to Fergie of the Black Eyed Peas, it found itself a record of real variety. For those familiar with the release, they’ll know that one of the stand out vocalists was Myles Kennedy of Alter Bridge, so much so he embarked on tour with Slash to support it. Unsurprisingly, yet very excitingly, the duo joined forces for the successor – with the finished product being the brilliant ‘Apocalyptic Love’.

Where ‘Slash’ was more mixed, this is a straight up rock ‘n’ roll record. It has its more subdued moments and it has its down and dirty grind, but when it boils down to it, this has got that rock swagger written all over it. There’s a notable bounce in many riffs, proving addictive; ‘You’re A Lie’ urges you to move, to sing at the top of your lungs and lavish yourself in those guitar flaunts. This is one of those rare albums not merely constructed on great songs, it’s designed to flaunt the guitar element more than most.

There are some more romantic vibes musically, ‘Anastasia’ lures you in with an elegant classic guitar before it returns to an electric glory. ‘Not For Me’ has a similar theme – the graceful guitar styling introduces the track before it cranks it up to eleven, turning it into a ‘big’ number. There are many tracks that merit this compliment – the record simply feels huge, suited for soaring across hoards of adoring fans in a live capacity.

You could argue there are elements of past successes; moments are reminiscent of Guns N’ Roses, others have Velvet Revolver’s dirty grind, but there’s something new and exciting throughout. Teamed with Myles’ versatile vocal capabilities, their possibilities are endless and that’s an exciting prospect. A lot of records are anticipated, many are highly acclaimed, but there are too few releases that actively excite you about music.

This is one of those few releases that excites the listener; it relies on quality of vocals and the craftwork of their musicality. ‘Apocalyptic Love’ may be straight up rock ‘n’ roll, but there’s just something about it that transcends all others around it. Fantastic. One can only question where on earth it can be taken from here.

http://rock.about.com/od/reviews/fr/Slash-Apocalyptic-Love-Review.htm

Slash - 'Apocalyptic Love' Review

Slash Offers Big Riffs and Classic Rock Sounds

Rating: 3/5

Slash’s Apocalyptic Love is an improvement on his self-titled 2010 solo debut, doing away with that album’s rotating cast of vocalists, which included everyone from Fergie to Chris Cornell. Additionally, the new disc is a more focused rock effort after Slash’s dabbling with pop. But although Slash’s longtime fans will feel more at home with Apocalyptic Love, this album again demonstrates that the guitarist is more a virtuosic musician than a stellar songwriter. As talented as he is, Slash needs to be surrounded by an able band that can help fill in his gaps.

So Much for Pop

As he did on Slash, the former guitarist for Guns N’ Roses and Velvet Revolver doesn’t sing on Apocalyptic Love, this time leaving all vocal duties to Alter Bridge frontman Myles Kennedy, who also sang on a couple Slash tracks. Kennedy and Slash wrote the songs on Apocalyptic Love together, and they definitely fit the mold of traditional rock ‘n’ roll, full of blazing guitar solos and arena attitude. While the track “Anastasia” opens with Spanish guitar, most of Apocalyptic Love stays within the confines of classic rock radio. It’s tempting to assume that this was a conscious choice for Slash, who received some criticism that his last album tried too hard for mainstream accessibility. Though lacking the concise anger of Appetite for Destruction, the new disc occasionally recalls vintage GNR, which is hardly surprising since Slash’s fretwork was essential to that band’s musical DNA. The problem for many may be that Apocalyptic Love doesn’t recall those days with enough full-throttled intensity.

With A Little Help From His Friend

For as much as Slash has accomplished since exiting Guns N’ Roses, the truth is that his legacy is undeniably linked to that group. And his subsequent records, including his Velvet Revolver material, argue that he works best as part of a talented collective as opposed to a more traditional solo artist. In other words, the man rises or falls to the level of his partners, and on Apocalyptic Love he gets solid, unspectacular backing from Kennedy. While it’s impossible to know who wrote what specifically on the album, these 13 tunes have a comfortable familiarity to them that keeps the surprises to a minimum. This doesn’t cripple Apocalyptic Love, but it does mean that the album falls in line with Kennedy’s Alter Bridge work, which has never been particularly riveting. Kennedy is a strong vocalist, able to move from the despondency of “Far and Away” to the hard-rock strut of “Standing in the Sun,” but he lacks the dynamic spark that Axl Rose or Scott Weiland possess. (To be fair, however, the enjoyably sludgy riffs of “We Will Roam” suggest that Kennedy’s post-grunge leanings inspired Slash to branch out a little.) Nonetheless, the songs are constantly engaging, if also a touch generic.

He Still Likes That Old Time Rock 'n' Roll

After flirting with contemporary sounds on Slash, Slash proves that his heart belongs to the rock bands of yesteryear on Apocalyptic Love. He may be hopelessly out of touch with modern rock, but, honestly, he doesn’t sound too unhappy about that. “Standing in the Sun” and “No More Heroes” seem designed expressly to satisfy air-guitar enthusiasts, which isn’t meant as a criticism. Rather, the album’s most powerful moments conjure up an era when rock music ruled supreme, offering the endless pleasure of cranking the volume up and letting the songs run over you like a truck. And when Slash goes for a power ballad, he puts real muscle into the quiet-then-loud “Not for Me” and turns “Far and Away” into a slow-dance anthem. If Apocalyptic Love is an example of an old dog defiantly uninterested in learning new tricks, then it’s hard to be too critical since he knows his milieu very well.

Take It or Leave It

Ultimately, Apocalyptic Love is a take-it-or-leave-it proposition, its strengths and its flaws all wrapped up together. Slash still fondly remembers a time when rock groups let fly with epic guitar solos, and if you don’t share his nostalgic view, that’s your problem. The man can wipe the floor with dozens of younger bands trying to duplicate his particular cocksure guitar style. Still, it would have been nice if Slash could have figured out a way to make his love for old-school rock resonate in a way so that it still felt fresh.

'Apocalyptic Love' - Best Tracks:

“No More Heroes”

“Standing in the Sun”

“We Will Roam”

“Far and Away”

“Bad Rain”

http://www.thisisnotascene.com/2012/slash-apocalyptic-love/

Slash – Apocalyptic Love

Rating 9.5/10

Here at TINAS we like to think that we provide a service to you- the hardened music fan- so, with this in mind, here, to start you off, are the three key headlines that you need for the office/pub/schoolyard regarding the new Slash record, Apocalyptic Love.

1. This is a contender for the rock n roll album of the year.

2. Myles Kennedy is one of the best vocalists in music.

3. Slash is still a genius guitar player.

Right, still with me? Then let’s talk about this record in some detail shall we? “Apocalyptic Love” is far, far better than you are expecting it to be: it is absolutely, no word of a lie, honest guv’nor, bloody brilliant. This is a much more stripped back, no nonsense affair: full of stonking tunes, massive riffs and memorable chrouses. It’s a record that is completely comfortable in its skin and doesn’t give a monkeys for fashion or what’s in vogue. It’s only rock n roll, but by God, do we like it.

For this second album, Slash has dispensed with the “Slash and friends” approach of his largely successful debut in favour of using his live backing band; it’s an approach that pays off handsomely as this sounds like a proper group rather than a pro-tools cut-and-paste effort. There’s an edge to the playing, a swagger and an attitude and- yes- something of a rawness that wholly endears. The inclusion of Myles Kennedy, he of Alter Bridge and Slash‘s live touring band is a very, very smart move. He is surely the hardest working man in showbusiness and, seriously, a vocalist of ridiculous ability. Kennedy is little short of magnificent on this record- whether it’s through the gritty Guns N Roses vibes that ebb through “Halo” or “One More Thrill” through the mid paced moodiness of “We Will Roam” or across the big ballad “Far And Away”, Kennedy turns in something a masterclass in how to be a rock god.

Despite Kennedy‘s brilliance- and it is brilliance, make no mistake- this is still Slash‘s record. You know, it’s a proper sign of greatness when you can use your talent with humility and this is what Slash does on this album. His playing is as good as you know it can be but it’s neither flashy nor exuberant; on the contrary, its poised, polished and, in parts, perfection.

Above all, though- and what sets this record above the moribund, the “will this do?” knock offs of some other supposed megastars we could name- is the sheer care and attention to detail on the songwriting and the band’s performance. There are some proper take no prisoners, diamond tunes here: whether you like the infectious “Standing In The Sun”, the punchy “You’re A Lie” or the guitar genius that swoons all over the majestic “Anastasia”, this is a record that keeps on giving. Whatever your own personal favourite there’s little doubt in my mind that we will all be spending the summer singing along to the phenomenal “No More Heroes”. Honestly, it is so anthemic you want to give it a country as a present. It has a chorus that you will be singing along to in the shower and the stadium. It’s catchier than a cold in winter, and has “stone cold classic” tattooed through its grooves.

“Apocalyptic Love” is just a brilliant record. They say that money can’t buy you happiness. They might be right: tell you what, though, buying the new Slash record will definitely buy you happiness. Bucketloads of it. Awesome.

http://www.newadventuresinhifi.com/2012/05/slash-apocalyptic-love-review/

Slash – Apocalyptic Love – Review

It’s not as easy as you might think, being Slash. Sure, he’s the former guitarist from one of the most significant rock bands of all time, and he’s got one of the most iconic images in the music world, but as a solo artist who doesn’t really sing, he’s found it tough going when not in a band. Well, he has, until now, as Apocalyptic Love proves.

Since splitting from Guns N Roses in the 90s, he’s tried branching out with Slash’s Snakepit, who didn’t really set the world on fire, and then hooked himself up in a proper band again with Velvet Revolver. But since they fell apart, he’s found himself trying to find a place for himself. His first solo album may have been self-titled, but lacked identity as he played sideman to a range of vocalists, from Ozzy Osbourne to Fergie from Black Eyed Peas. Frankly, it was a mess.

One of those vocalists was Myles Kennedy from Alter Bridge, and he obviously made an impact on Slash, because he joined him on tour for the album and again last year, featuring on the subsequent live album. And here he is again, on the second solo album, this time as full-time frontman on a record rather unwieldingly attributed to ‘Slash, featuring Myles Kennedy And The Conspirators’. But, really, it’s Slash’s second solo album, and the first to really have his musical identity.

Just having one singer certainly helps, and Kennedy (who was the guy Led Zeppelin were seemingly flirting with as a tour replacement for Robert Plant a few years back) has a good enough set of pipes to bring real energy to the material in the way that the disparate group of hired voices failed last time out. That he occasionally sounds like both Axl Rose and Scott Weiland is handy for reminding you who the hairy guy in the top hat is, though Slash does a much better job of starring in his own songs here.

The lyrics may be all Kennedy’s, but Slash’s guitar signature is everywhere on Apocalyptic Love, from the appropriately-named title track through to first single You’re A Lie and especially on No More Heroes (not a Stranglers cover), which couldn’t be by anyone else. Anastasia samples Bach (well, obviously), but it’s a more modern musical icon who shines through with some wonderful virtuoso stuff on the guitar. The pace of the album is pretty relentless and there’s barely a dull moment, another contrast to the patchy self-titled album.

If I’ve seemed a bit down on that last release, it’s only because the idea of a Slash solo album is something that we’ve all looked forward to for so long, despite the successes of Velvet Revolver. It wasn’t a complete disaster, of course, but it was a patchy effort weighed down by too many different kinds of superstar vocalists, leaving Slash seeming like a guest on his own album. There’s no such problems here, with Kennedy and the Conspirators perfectly matched for him and allowing him to shine. This is what we’ve been waiting for, so enjoy.

http://www.uberrock.co.uk/cd-reviews/25-may-cd/4961-slash-apocalyptic-love-roadrunner.html

Slash - 'Apocalyptic Love' (Roadrunner)

'Apocalyptic Love' is the second studio release from former Guns N' Roses and current (?) Velvet Revolver guitar slinger Slash, the follow up to his self titled debut release which became a global smash and included guest vocalists on each track, one of these special guests being Alter Bridge's acclaimed and revered singer Myles Kennedy, who toured the world as the lead singer on the accompanying tour and who now is solely in charge of vocal duties.

Title track 'Apocalyptic Love' edges the album into gear in mighty fine fashion with a slice of trademark Slash riffage and Kennedy's perfect rock vocal that fits like a glove so uniquely with the six stringer. The songs are given an almost live sound thanks to the awesome production of Eric Valentine on tunes like 'One Last Thrill' and 'Standing In The Sun'. The guitar licks are more predominant on this record than on the previous offering, ably assisted of course by Kennedy, bassist Todd Kerns and drummer Brent Fitz (collectively referred to as "Myles Kennedy and the Conspirators").

Lead single 'You're A Lie' is a beautifully crafted piece of commercial heavy rock songwriting, another masterpiece from the pen of the cat in the hat. A striking similarity to a song of old comes around on 'No More Heroes', with a thunderous, memorable choral arrangement to boot, hooky as hell stuff, and the riffs keep coming thick and fast on 'Halo' and 'We Will Roam', mixing harmonic melodic vocals with all the biting, swaying heavy instrumentation on offer. Samples of Johann Sebastian Bach's 'Toccata' and 'Fugue in D minor' appear on the acoustic-introduced 'Anastasia' and again Slash's speciality axe attack reigns supreme.

The tempo is slowed down a tad on 'Not For Me' but the anthemic feel strongly remains. The lyrics throughout the opus penned by Kennedy relate at points to his previous addiction to drugs. 'Bad Rain' is, again, a song that revolves around the guitar hook and evolves out with another killer chorus thanks to the vocalist's originality and craft. 'Hard & Fast' lives up to its name to an extent with the basis of the tune well and truly rooted in classic rock-dom. The mood mellows on 'Far And Away', a delicious, softer number with its blues underlying influence shining through that demonstrates Myles Kennedy's warbling so gracefully.

The release ends on a high with 'Shots Fired' and furthermore the guitar flows wildly and so loosely that it could be uttered that the legendary player has rarely performed at this level, but of course he has done time and time again.

The deluxe edition offers bonus tunes 'Carolina' and 'Crazy Life', numbers that could have graced the record in their own right.

Apocalyptic Love..Love..Love....

http://pushtofirereviews.wordpress.com/2012/05/21/review-slash-featuring-myles-kennedy-and-the-conspirators-apocalyptic-love/

REVIEW: SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS – “Apocalyptic Love”

Rating: 10/10

In his first offering as a solo artist, Slash’s 2010 self-titled debut featured a range of artists taking over on vocals, including big names such as Dave Grohl, Ozzy Osbourne and Chris Cornell. This time around for Apocalyptic Love, touring vocalist Myles Kennedy of Alter Bridge has turned collaborator, taking the helm and blowing everyone out of the water.

With music by the exquisite guitarist that is Slash and lyrics by Kennedy, Apocalyptic Love is a heavy and twisted journey into addiction.

Starting off with doomsday rock, title track Apocalyptic Love speeds into life before dragging you down into hell. One Last Thrill is classic punk rock, Kennedy’s vocals stealing the show and continuing to do so throughout the rest of the record.

You’re a Lie is by far my favourite track – the guitars shred to perfection and Kennedy’s passionate vocals are so powerful they nearly punch you in the throat.

Unsurprisingly, Slash is in his element in every track, with no guitar solo out of place or too long so as to bore the listener.

Anastasia, Not For Me and Far and Away mellow out the record. Hard & Fast is exactly that, and you can’t help feeling like you’re speeding down a freeway with the top down and the radio blaring. Final track Crazy Life could easily become the next rock anthem with its infectious hooks.

The album is pure dirty rock ‘n’ roll and an example of artist collaboration at its finest. Modern, passionate, infectious and downright rocking, Kennedy and Slash were made for each other.

Edited May 22, 2012 by Original GNR

[sleeper]

Thanks for the reviews it sounds like Slash might have a monster album on his hands.

[sweetness]

the more I listen to this album the more I love it, it's got such warm feeling throughout. well done Slash, well done

[Original GNR]

http://www.sabotagetimes.com/music/album-review-slash-featuring-miles-kennedy-and-the-conspirators-%E2%80%93-apocalyptic-love/

Album Review: Slash featuring Miles Kennedy and The Conspirators – Apocalyptic Love

About 25 years ago Guns n’ Roses swaggered on to the scene like uninvited guests at the hair metal party. They spilt Jack Daniels on the carpet, shot up in the corner and then went and played the sleaziest, meanest rock ‘n’ roll anyone had ever heard.

Inevitably, G n’ R imploded but still, while most members have disappeared into the musical abyss and Axl Rose pisses off audiences around the world with a band of hired guns, Slash stands tall like a monument to pure, depraved hedonism.

Despite spending most of his career practically wearing a cigarette and having taken enough drugs to make Pete Doherty’s eyes pop clean out of his head, Slash is on top form. Two years ago he released his first solo album with the help of an eclectic range of A-list collaborators to rave reviews, his concerts sell out which ever country he’s in, his playing is the tightest it’s ever been and, damn it, at 46 he still looks good.

Now, and before this supposed review turns into a loveletter, he’s released his second solo album and it’s time to take a look at it.

First thing to say is it’s not really a solo album. The last album was akin to Santana’s Supernatural or Tom Jones’ Reload – it was a celebration of him. As such, it was diverse and wide-ranging but he was the only constant. From the off on Apocalyptic Love, Slash gives credit to The Conspirators, a constant backing band headed up by Alter Bridge singer Myles Kennedy.

It gives the album a more consistent theme and from the moment the overdriven, bluesy riff of title-track Apocalyptic Love kicks in it’s clear this is a rock and roll album.

Through the first few tracks Slash’s early influences, particularly Aerosmith, are clear. Halo, with the subtle octave effect on its main riff, is the first nod to more modern influences like Avenged Sevenfold.

The whole thing is a toe-tapping festival of riffs and the cat in the hat’s trademark singalong solos, except nowadays his playing is quicker and more lavish. Slash is at his best on the album’s stand out track – Anastasia. It opens with some Spanish guitar and, even when the Marshalls get turned up to 11, the classical scales remain and lead into a frantic solo complete with some full-on shredding.

It would be unfair to do this review without mentioning singer Myles Kennedy. His voice has charisma and the way he screeches isn’t dissimilar to Bruce Dickinson or, dare I say it, Axl Rose.

Apocalyptic Love is an excellent album. You can imagine it being played in a sleazy LA strip joint – and that’s a compliment. It’s not as accessible as his last and it’s not got as many stand-out songs but Slash’s fans-and in case you hadn’t guessed, I am one- will drink it up like so much Jack Daniels.

http://www.examiner.com/review/slash-apocalyptic-love-album-review

Slash - 'Apocalyptic Love' album review

'Apocalyptic Love,' the second solo album by recent Rock and Roll Hall of Fame inductee Slash, was released today. His first, self-title album was a star-studded affair, with many of hard rock's elite contributing vocals or making instrumental appearances. Slash eschewed the guest musicians this time and used his solo band (collectively known as Myles Kennedy and the Conspirators) exclusively. This is the same band, sans rhythm guitarist Bobby Schneck, who has been touring with Slash for the past couple years and recorded the excellent live album, 'Made in Stoke 24/7/11' (read my review here).

Those familiar with Slash and his immediately identifiable guitar style won't hear too many surprises on 'Apocalyptic Love,' just another album bursting with the axe legend's trademark bombastic guitar excellence. Slash is one of the all-time greatest guitarists in the hard rock genre and this album is another chapter in his testament to rock and roll. There's a few really cool curveballs thrown at the listener: check out the beautiful acoustic intro to "Anastasia," which was influenced by Johann Sebastian Bach's "Toccata and Fugue in D minor." Overall, however, 'Apocalyptic Love' is a large, overflowing Easter basket of ear candy for the hard rock connoisseur.

Slash is still too young for critics to begin talking about his body of work as a whole, but his new album does give a career retrospective. Sleazy, rowdy, uptempo tracks like "Hard & Fast" and the magnificent "One Last Thrill" sound like songs Guns N' Roses would've recorded back in their mid-1980s demo tape days. Kennedy's vocal gymnastics in the latter song are something to hear; he belts out more words a minute than most Slayer songs. "Standing in the Sun" goes even further back, and wouldn't sound out of place on a mid-1970s Aerosmith album. On the flipside, "Not for You" is very reminiscent of the 'Use Your Illusion' era of GN'R. Ostensibly about finally growing out of the rock and roll lifestyle, Kennedy imbues the melancholy track with a lot of emotion and Slash injects so much feeling with his guitar, this is one of the best songs of its kind I've heard in a while.

The aforementioned "Anastasia" is a whole new beast though: starting off with that delicate acoustic guitar, the song builds up into a hard-driving rocker that slightly recalls 'Appetite for Destruction' but with fancier and more mature fretwork. It just illustrates how much better Slash has got since the 80s. He might be better known as a lead guitarist, but his rhythm skills are just as superb. Check out the great riffs that propel "Bad Rain" and "You're a Lie."

"Anastasia" is not the only ballad either. The penultimate track, "Far and Away," features another phenomenal vocal performance by Kennedy. There's a reason why he is in such demand, from Slash to the Scott Stapp-less Creed (better known as Alter Bridge); heck, Jimmy Page, John Paul Jones and Jason Bonham wanted him to work with them! He truly is one of the best vocalists around.

It's too bad Slash and gang only played two songs from this album at Rock on the Range on Saturday (read my review here). 'Apocalyptic Love' probably won't make anyone forget about 'Appetite for Destruction' but it utterly blows the new "GN'R" album 'Chinese Democracy' out of the water. From Guns N' Roses to Slash's Snakepit to Velvet Revolver, Slash has created a body of work that few guitarists ever do, and his recent solo albums are vital, critical components to his growing, vibrant legacy.

Edited May 23, 2012 by Original GNR

[bacardimayne]

http://www.sputnikmusic.com/review/49886/Slash-Apocalyptic-Love/

According to Axl Rose, one of the main reasons that Slash left Guns N’ Roses was due to the fact that he resented having to adapt and evolve his style. Of course, there is always more than one side to any story, but the passing years have conspired to prove this version of events to be correct.

Upon his departure from the warring factions of Guns, he immediately established Slash’s Snakepit; a thinly-veiled solo vehicle that produced interesting but unmemorable hard rock schlock. Velvet Revolver, established in 2002, were little more than an unimaginative re-tread of two or three different bands. His debut solo album-proper, 2010’s Slash, was nothing but an exercise in big name cameos that had all the substance of low-quality candyfloss.

Slash is now at the stage of his career wherein he is firmly entrenched in the category of International Heritage. He could put the words of Mein Kampf to music and still be granted some leeway, such is the adoration some people hold for him. Indeed, the man born Saul Hudson might have been better transcribing Hitler’s literary madness into music form as that would have been halfway exciting and fresh. As it stands, Apocalyptic Love is conspicuous by its complete anonymity and dogged by the tepid boredom that leaks from each song like a faulty gas pipe. Deciding to dispense with the cameo carousel, he has formed a de-facto group with former Alter Bridge vocalist Myles Kennedy and a drummer and bass player collectively known as The Conspirators. One would be forgiven for thinking that the establishment of a more permanent band structure would lend itself to a more stable and creative environment. Alas, the opposite has happened. Each of the album’s thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens. It’s commendable in itself that an album is able to achieve this effect.

Myles Kennedy, cited by some as the new Axl to Slash’s…well, Slash, is certainly a vocalist of some repute. At his best he can reach the high notes that others cannot or will not go for. At his worst though, and he flits between bad impressions of Andrew Stockdale on a sugar high or Chris Cornell on a tranquilizer binge. Case in point: “We Will Roam” is the most obvious Cornell sound-a-like track. It is also boring and dull, suffering immensely from a lack of musical deviation and change of pace. Instead it seems satisfied with its workmanlike plod. Elsewhere, “Far And Away”, the obligatory ‘lighters held aloft’ ballad, is reminiscent of something even Audioslave would have deemed too generic to release.

Each and every song on Apocalyptic Love adheres to a very similar formula. Quieter verses punctuated with a rousing chorus with an ambiguous yet well-meaning message, a solo that goes on longer than it should followed by a final chorus with an outro solo. Even the song titles are imbued with very little in the way of inspiration. “Bad Rain”? “Hard And Fast”? The only one with any real promise is “No More Heroes”, and that’s because for one fleeting moment you think it might be a cover of The Stranglers’ classic of the same name (Hint: it’s not).

Inevitably, it is only the last track, “Shots Fired”, that shows any real semblance of grit. By this stage it’s far too little and far too late. In reality, Slash only needs set filler for his gigs until he gets to what people really want to hear: Guns N’ Roses songs. In that sense, mission accomplished!

[pugachev]

^harsh, but oh so true.

[classicrawker]

http://www.sputnikmusic.com/review/49886/Slash-Apocalyptic-Love/

According to Axl Rose, one of the main reasons that Slash left Guns N’ Roses was due to the fact that he resented having to adapt and evolve his style. Of course, there is always more than one side to any story, but the passing years have conspired to prove this version of events to be correct.

Upon his departure from the warring factions of Guns, he immediately established Slash’s Snakepit; a thinly-veiled solo vehicle that produced interesting but unmemorable hard rock schlock. Velvet Revolver, established in 2002, were little more than an unimaginative re-tread of two or three different bands. His debut solo album-proper, 2010’s Slash, was nothing but an exercise in big name cameos that had all the substance of low-quality candyfloss.

Slash is now at the stage of his career wherein he is firmly entrenched in the category of International Heritage. He could put the words of Mein Kampf to music and still be granted some leeway, such is the adoration some people hold for him. Indeed, the man born Saul Hudson might have been better transcribing Hitler’s literary madness into music form as that would have been halfway exciting and fresh. As it stands, Apocalyptic Love is conspicuous by its complete anonymity and dogged by the tepid boredom that leaks from each song like a faulty gas pipe. Deciding to dispense with the cameo carousel, he has formed a de-facto group with former Alter Bridge vocalist Myles Kennedy and a drummer and bass player collectively known as The Conspirators. One would be forgiven for thinking that the establishment of a more permanent band structure would lend itself to a more stable and creative environment. Alas, the opposite has happened. Each of the album’s thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens. It’s commendable in itself that an album is able to achieve this effect.

Myles Kennedy, cited by some as the new Axl to Slash’s…well, Slash, is certainly a vocalist of some repute. At his best he can reach the high notes that others cannot or will not go for. At his worst though, and he flits between bad impressions of Andrew Stockdale on a sugar high or Chris Cornell on a tranquilizer binge. Case in point: “We Will Roam” is the most obvious Cornell sound-a-like track. It is also boring and dull, suffering immensely from a lack of musical deviation and change of pace. Instead it seems satisfied with its workmanlike plod. Elsewhere, “Far And Away”, the obligatory ‘lighters held aloft’ ballad, is reminiscent of something even Audioslave would have deemed too generic to release.

Each and every song on Apocalyptic Love adheres to a very similar formula. Quieter verses punctuated with a rousing chorus with an ambiguous yet well-meaning message, a solo that goes on longer than it should followed by a final chorus with an outro solo. Even the song titles are imbued with very little in the way of inspiration. “Bad Rain”? “Hard And Fast”? The only one with any real promise is “No More Heroes”, and that’s because for one fleeting moment you think it might be a cover of The Stranglers’ classic of the same name (Hint: it’s not).

Inevitably, it is only the last track, “Shots Fired”, that shows any real semblance of grit. By this stage it’s far too little and far too late. In reality, Slash only needs set filler for his gigs until he gets to what people really want to hear: Guns N’ Roses songs. In that sense, mission accomplished!

So how long did you have to search before you finally found a negative review Cardi?

[bacardimayne]

http://www.sputnikmusic.com/review/49886/Slash-Apocalyptic-Love/

According to Axl Rose, one of the main reasons that Slash left Guns N’ Roses was due to the fact that he resented having to adapt and evolve his style. Of course, there is always more than one side to any story, but the passing years have conspired to prove this version of events to be correct.

Upon his departure from the warring factions of Guns, he immediately established Slash’s Snakepit; a thinly-veiled solo vehicle that produced interesting but unmemorable hard rock schlock. Velvet Revolver, established in 2002, were little more than an unimaginative re-tread of two or three different bands. His debut solo album-proper, 2010’s Slash, was nothing but an exercise in big name cameos that had all the substance of low-quality candyfloss.

Slash is now at the stage of his career wherein he is firmly entrenched in the category of International Heritage. He could put the words of Mein Kampf to music and still be granted some leeway, such is the adoration some people hold for him. Indeed, the man born Saul Hudson might have been better transcribing Hitler’s literary madness into music form as that would have been halfway exciting and fresh. As it stands, Apocalyptic Love is conspicuous by its complete anonymity and dogged by the tepid boredom that leaks from each song like a faulty gas pipe. Deciding to dispense with the cameo carousel, he has formed a de-facto group with former Alter Bridge vocalist Myles Kennedy and a drummer and bass player collectively known as The Conspirators. One would be forgiven for thinking that the establishment of a more permanent band structure would lend itself to a more stable and creative environment. Alas, the opposite has happened. Each of the album’s thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens. It’s commendable in itself that an album is able to achieve this effect.

Myles Kennedy, cited by some as the new Axl to Slash’s…well, Slash, is certainly a vocalist of some repute. At his best he can reach the high notes that others cannot or will not go for. At his worst though, and he flits between bad impressions of Andrew Stockdale on a sugar high or Chris Cornell on a tranquilizer binge. Case in point: “We Will Roam” is the most obvious Cornell sound-a-like track. It is also boring and dull, suffering immensely from a lack of musical deviation and change of pace. Instead it seems satisfied with its workmanlike plod. Elsewhere, “Far And Away”, the obligatory ‘lighters held aloft’ ballad, is reminiscent of something even Audioslave would have deemed too generic to release.

Each and every song on Apocalyptic Love adheres to a very similar formula. Quieter verses punctuated with a rousing chorus with an ambiguous yet well-meaning message, a solo that goes on longer than it should followed by a final chorus with an outro solo. Even the song titles are imbued with very little in the way of inspiration. “Bad Rain”? “Hard And Fast”? The only one with any real promise is “No More Heroes”, and that’s because for one fleeting moment you think it might be a cover of The Stranglers’ classic of the same name (Hint: it’s not).

Inevitably, it is only the last track, “Shots Fired”, that shows any real semblance of grit. By this stage it’s far too little and far too late. In reality, Slash only needs set filler for his gigs until he gets to what people really want to hear: Guns N’ Roses songs. In that sense, mission accomplished!

So how long did you have to search before you finally found a negative review Cardi?

Not long. Almost every credible review I've seen about the album is average-negative. Calm down.

Edited May 25, 2012 by bacardimayne

[RocketQueen1985]

http://www.sputnikmusic.com/review/49886/Slash-Apocalyptic-Love/

According to Axl Rose, one of the main reasons that Slash left Guns N’ Roses was due to the fact that he resented having to adapt and evolve his style. Of course, there is always more than one side to any story, but the passing years have conspired to prove this version of events to be correct.

Upon his departure from the warring factions of Guns, he immediately established Slash’s Snakepit; a thinly-veiled solo vehicle that produced interesting but unmemorable hard rock schlock. Velvet Revolver, established in 2002, were little more than an unimaginative re-tread of two or three different bands. His debut solo album-proper, 2010’s Slash, was nothing but an exercise in big name cameos that had all the substance of low-quality candyfloss.

Slash is now at the stage of his career wherein he is firmly entrenched in the category of International Heritage. He could put the words of Mein Kampf to music and still be granted some leeway, such is the adoration some people hold for him. Indeed, the man born Saul Hudson might have been better transcribing Hitler’s literary madness into music form as that would have been halfway exciting and fresh. As it stands, Apocalyptic Love is conspicuous by its complete anonymity and dogged by the tepid boredom that leaks from each song like a faulty gas pipe. Deciding to dispense with the cameo carousel, he has formed a de-facto group with former Alter Bridge vocalist Myles Kennedy and a drummer and bass player collectively known as The Conspirators. One would be forgiven for thinking that the establishment of a more permanent band structure would lend itself to a more stable and creative environment. Alas, the opposite has happened. Each of the album’s thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens. It’s commendable in itself that an album is able to achieve this effect.

Myles Kennedy, cited by some as the new Axl to Slash’s…well, Slash, is certainly a vocalist of some repute. At his best he can reach the high notes that others cannot or will not go for. At his worst though, and he flits between bad impressions of Andrew Stockdale on a sugar high or Chris Cornell on a tranquilizer binge. Case in point: “We Will Roam” is the most obvious Cornell sound-a-like track. It is also boring and dull, suffering immensely from a lack of musical deviation and change of pace. Instead it seems satisfied with its workmanlike plod. Elsewhere, “Far And Away”, the obligatory ‘lighters held aloft’ ballad, is reminiscent of something even Audioslave would have deemed too generic to release.

Each and every song on Apocalyptic Love adheres to a very similar formula. Quieter verses punctuated with a rousing chorus with an ambiguous yet well-meaning message, a solo that goes on longer than it should followed by a final chorus with an outro solo. Even the song titles are imbued with very little in the way of inspiration. “Bad Rain”? “Hard And Fast”? The only one with any real promise is “No More Heroes”, and that’s because for one fleeting moment you think it might be a cover of The Stranglers’ classic of the same name (Hint: it’s not).

Inevitably, it is only the last track, “Shots Fired”, that shows any real semblance of grit. By this stage it’s far too little and far too late. In reality, Slash only needs set filler for his gigs until he gets to what people really want to hear: Guns N’ Roses songs. In that sense, mission accomplished!

So how long did you have to search before you finally found a negative review Cardi?

Not long. Almost every credible review I've seen about the album is average-negative. Calm down.

Yeah relax mate It's just a geeky fan forum, remember?

[classicrawker]

http://www.sputnikmusic.com/review/49886/Slash-Apocalyptic-Love/

According to Axl Rose, one of the main reasons that Slash left Guns N’ Roses was due to the fact that he resented having to adapt and evolve his style. Of course, there is always more than one side to any story, but the passing years have conspired to prove this version of events to be correct.

Upon his departure from the warring factions of Guns, he immediately established Slash’s Snakepit; a thinly-veiled solo vehicle that produced interesting but unmemorable hard rock schlock. Velvet Revolver, established in 2002, were little more than an unimaginative re-tread of two or three different bands. His debut solo album-proper, 2010’s Slash, was nothing but an exercise in big name cameos that had all the substance of low-quality candyfloss.

Slash is now at the stage of his career wherein he is firmly entrenched in the category of International Heritage. He could put the words of Mein Kampf to music and still be granted some leeway, such is the adoration some people hold for him. Indeed, the man born Saul Hudson might have been better transcribing Hitler’s literary madness into music form as that would have been halfway exciting and fresh. As it stands, Apocalyptic Love is conspicuous by its complete anonymity and dogged by the tepid boredom that leaks from each song like a faulty gas pipe. Deciding to dispense with the cameo carousel, he has formed a de-facto group with former Alter Bridge vocalist Myles Kennedy and a drummer and bass player collectively known as The Conspirators. One would be forgiven for thinking that the establishment of a more permanent band structure would lend itself to a more stable and creative environment. Alas, the opposite has happened. Each of the album’s thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens. It’s commendable in itself that an album is able to achieve this effect.

Myles Kennedy, cited by some as the new Axl to Slash’s…well, Slash, is certainly a vocalist of some repute. At his best he can reach the high notes that others cannot or will not go for. At his worst though, and he flits between bad impressions of Andrew Stockdale on a sugar high or Chris Cornell on a tranquilizer binge. Case in point: “We Will Roam” is the most obvious Cornell sound-a-like track. It is also boring and dull, suffering immensely from a lack of musical deviation and change of pace. Instead it seems satisfied with its workmanlike plod. Elsewhere, “Far And Away”, the obligatory ‘lighters held aloft’ ballad, is reminiscent of something even Audioslave would have deemed too generic to release.

Each and every song on Apocalyptic Love adheres to a very similar formula. Quieter verses punctuated with a rousing chorus with an ambiguous yet well-meaning message, a solo that goes on longer than it should followed by a final chorus with an outro solo. Even the song titles are imbued with very little in the way of inspiration. “Bad Rain”? “Hard And Fast”? The only one with any real promise is “No More Heroes”, and that’s because for one fleeting moment you think it might be a cover of The Stranglers’ classic of the same name (Hint: it’s not).

Inevitably, it is only the last track, “Shots Fired”, that shows any real semblance of grit. By this stage it’s far too little and far too late. In reality, Slash only needs set filler for his gigs until he gets to what people really want to hear: Guns N’ Roses songs. In that sense, mission accomplished!

So how long did you have to search before you finally found a negative review Cardi?

Not long. Almost every credible review I've seen about the album is average-negative. Calm down.

Yeah relax mate It's just a geeky fan forum, remember?

Not getting excited as I really don't care what you all think of Slash or his new album but was just curious as Cardi is a confirmed Slash hater and that is the first negative review I have seen.......

[Projected]

Allmusic.

3/5 stars.

http://www.allmusic....c-love-r2441249

If you were wondering why Slash, one of the greatest guitarists of his generation, chose to throw in his lot with Myles Kennedy, one of the greatly undistinguished hard rock vocalists of his generation, consider this: if you spent your life battling temperaments like Axl Rose and Scott Weiland, you'd choose somebody who's easy to get along with too. Touring and playing with Kennedy clearly is easier on Slash's soul, and the music on Apocalyptic Love, his second solo album and first to feature Myles on vocals throughout, reflects this ease. It may be hard and heavy but it sounds relaxed, Slash and company doing the music they do best: namely, L.A. sleaze rock basics, thickly layered with guitars. There are absolutely no surprises here -- it opens with a cascade of wah-wahs and quickly settles into grinding boogie derived from Aerosmith -- but unlike either Slash's Snakepit or the 2010 Slash, Apocalyptic Love never tries too hard, so it winds up satisfying on its own limited scale.

I probably agree with most of this, except that there are one surprise in Anastasia. The rest is spot ot.

Edited May 25, 2012 by Projected

[bacardimayne]

Not getting excited as I really don't care what you all think of Slash or his new album but was just curious as Cardi is a confirmed Slash hater and that is the first negative review I have seen.......

Nah dude I don't hate Slash, just wish he'd put his talents to better use.

Clearly the rest of the world agrees with me based on the average reviews and horrible sales.

[Original GNR]

Not getting excited as I really don't care what you all think of Slash or his new album but was just curious as Cardi is a confirmed Slash hater and that is the first negative review I have seen.......

Nah dude I don't hate Slash, just wish he'd put his talents to better use.

Clearly the rest of the world agrees with me based on the average reviews and horrible sales.

I think you'll find that most of the professional reviews have actually been positive. Low sales? Well traditional rock albums rarely top the charts these days, so i'd hardly use that as a barometer.

[moreblack]

tough to find better use, than calling your own shots

[Becket]

I'm loving this album. Been on constant rotation.

[vaida]

Slash - Apocalyptic Love

I like this track

[TeeJay410]

Well since looking at all these positive reviews for the album hailing it as just a good straight ahead rock record, I've learned something about myself. I don't like straight ahead rock apparently. I find Myles voice grating, and everything here is something Slash has done before and has done better. Anastasia might be the exception, however there's still the boring blues rock song in the middle of some very impressive guitar playing at the beginning and end.

[Estranged Reality]

http://beatsperminute.com/reviews/album-review-slash-apocalyptic-love/

sorry guys - love slash but just wasn't too keen on this record...

[classicrawker]

Well since looking at all these positive reviews for the album hailing it as just a good straight ahead rock record, I've learned something about myself. I don't like straight ahead rock apparently. I find Myles voice grating, and everything here is something Slash has done before and has done better. Anastasia might be the exception, however there's still the boring blues rock song in the middle of some very impressive guitar playing at the beginning and end.

Too each his own mate as I thought ChiDem was very mediocre.......And I am not just a straight Rock fan as I happen to like complex prog rock music like King Crimson, old Yes, Old Genesis etc.....

[moreblack]

Too each his own mate as I thought ChiDem was very mediocre......

At its core it was just overdone layers and layers of pretty basic stuff. Aside from a flurry of notes from Bucket here and there.

Edited June 1, 2012 by moreblack