Review by Peter Finn for MPM
Let me introduce you to Crossbone Skully, with the help of his bio, from his website. “Crossbone Skully… a legendary Harley-riding party animal and ghoulish rock & roll hero, armed with supernatural powers and a busted-up spaceship, treks back to earth to find the planet in chaos.
He plans to save the world and reconnect with his lost deity love Piper and Kid, the son he never knew he had.
He recruits a mighty band of space warriors, The Misfits of the Universe (Alice Cooper, Joe Perry, Nikki Sixx, Kane Roberts & Sheryl Cooper), to defeat all-powerful Sorcerer (Johnny Depp), intent on using the Evil World Machine to drain the world of its life force and plunging humanity into darkness.”
Yes, this really is happening, and is the result of a collaborative team headed by veteran rock session bassist Tommy Henriksen and Tommy Denander alongside the illustrious Mutt Lange, who re-surfaced from retirement to executive produce the project. Along with Henriksen and guitarist Denander, Crossbone Skully consists of a wealth of talent and experience, keyboardist Jamie Muhoberac, drummer Glen Sobel, bassist Chris Wyse, with the late UFO bassist Pete Way and producer/mixer Mike Plotnikoff also contributing.
Think of a Ziggy Stardust style concept album with influences from Iron Maiden, KISS, AC/DC and Alice Cooper then throw in some Sex Pistols for spice. ‘Evil War Machine’ was released on 22 November 2024 by Better Noise Music, containing 13-tracks and will keep you entertained for over 51-minutes. So, buckle-up, you’re about to go on a mind-warping, intergalactic adventure at light speed.
The album opens with the title track ‘Evil World Machine’, the AC/DC feel is evident from the start, crunching riffs and thunderous beats driving the track. Tommy’s snarling vocal giving genuine bite. This will be a great live track with plenty of bounce and audience participation.
A chanted harmony brings in ‘The Boom Went The Boom’, and includes a seismic contribution from Def Leppard’s Phil Collen. The quick-fire punchy lyrics, trade blows with a steady beat before the guitar licks rip through the track, the chanted harmonies return to close the track.
Police sirens and a clipped riff starts ‘Money, Sex Or God’. Henriksen is narrating the lyrics, a Bon Scott tone emphasizes the classic rock sound. The pace accelerates into a real headbanger, guitar breaks alternate with drum volley’s to great effect, a lot of thought has gone into the construction of the track.
The fabulously titled ‘Flip The Bird’ is next. Early AC/DC meets Aerosmith at their legendary best. This is high-tempo rock ‘n’ roll, full of energy and passion. Hold on tight this is a rapid ride. The guitars are sounding amazing.
‘Everyone’s on Dope’ is a party paced anthem that will have the halls jumping. Swaggering guitars with a southern blues boogie. A live performance will see the crowd joining in with the infectious lyrics.
A brief choral cry, then a powerful rhythmic beat begins ‘The Sin Eater’. Henriksen’s Joe Elliott style lyrics matches perfectly with the Def Leppard sound. A stadium rocker accompanied by pumping fists. A midsection slow jam and a play with the effects box provides a different and compelling twist.
‘Ima Bone Machine’ incorporates sounds obtained from Henriksen’s other job with Alice Cooper, as he matches the even paced lyrics of the master story-teller, including a respectful fanfare guitar riff. The track has a dirty edge.
A galloping beat and squealing guitar announces ‘Let’s Bust The Trust’, before we get a pirate jig that brings a feel-good smile across the face. It reminds me of a 70’s Slade classic, with the focus on having a good time.
Motley Crue’s Nikki Sixx is a guest on ‘High On You’, the boogie and swagger return for this mid-paced romp. The band add harmonised backing vocals to Henriksen’s soaring lyrics, a sharp guitar solo keeps the track moving.
A haunting distorted intro begins ‘I Am The Wolf’, Henriksen is narrating the lyrics, the pace is slow, a keyboard buzz, and a solitary guitar riff is the only musical accompaniment. Henriksen cries out, “In this hellhole, I am the wolf,” the band howl, encouraging you to join his pack. The track plays out with intricate guitar strumming, it’s a powerful piece.
‘I’m Unbreakable’ starts with an electric banjo sound as Henriksen calls for the listener’s attention. It has the feel of an evocative Bon Jovi stadium anthem, slow, hard and full of feeling. The backing vocal chant and squealing riff will have the arms waving, but it’s the power and control in Henriksen’s lyrics that are the main attraction.
‘The Last Night On Earth’ is a rich sounding 80’s power ballad, the production is slick. The guitars crystal clear and clean. The rhythm section deliver a strong supportive beat. Turn out the lights and let yourself become immersed in the music and the world of Crossbone Skully.
The album closes with ‘Misfits Of The Universe’, with Crossbone Skully on vocals, Tommy Henriksen developed the voice of Crossbone Skully with a vocal app that makes him sound like a disembodied Stephen Hawkins. It’s a rousing call to arms for anyone who feels different, no matter who you are, what you look like, you’re not alone and you’re welcome to join us. A simple and heartfelt message, delivering with respect and honesty. “You are all welcome here,” sings Henriksen.
Crossbone Skully’s ‘Evil War Machine’, was something very different, you understand the amount of work involved and the dedication to getting it right. It was four years in the making. He creates a world that will be revealed by its own comic book inspired by an animated video which premiered at this year’s San Diego ComiCon. Making spoken-word appearances are Johnny Depp as the voice of “The Evil Sorcerer,” along with Alice Cooper as “The Bringer of Light,” Joe Perry as “The Big Bad Bone Crusher” and Nikki Sixx as “The Crooked Crow,” with Kane Roberts as “The Alpha Watchman”.
The album has flawless production and crushing performances, it’s a great journey. Let’s hope that Crossbone Skully brings his Misfits to the UK soon as we all need rescuing from the mundane.
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