aaamusic | On 03, Oct 2011

Sunday Recovery are an Italian hard rock band, and English isn’t their first language. After deciding they wanted to sing in English, they enlisted a little help for their lyrics – in the form of Andrew James Whelan. However, vocalist Petrini wasn’t quite able to eradicate his Italian accent. So, as with many European acts who decide to sing in English – opposed to in their own tongue – the vocals do sound a little particular. Sometimes, having an accent adds charm to a record, but this isn’t quite the case here, as it’s fairly obvious that Petrini is attempting to cover up his accent – and, regrettably, it does distract from the music.

And on to that music. Sunday Recovery’s debut ‘Coma’ is a essentially a grunge metal record, and since grunge metal is very 90s it does wind up sounding a tiny bit outdated from the get-go. However, there are enough added dimensions to make this a worthwhile listen – the strongest of these being the gargantuan riffs of Staffieri (plus he rocks one hell of a solo, as on ‘I Know Better’ – note to band: include more solos). There is also a bit (only a bit, mind you) of prog-rock experimentalism, perhaps thanks to the collaborations of Porcupine Tree’s Edwin. Tracks like the impressive opener ‘Private Joke’ and ‘Young Blood’ have a semi nu-metal feel, and that mixed with the grunge aspect results in a Stereomud-sound (RIP Stereomud). The softer songs on offer have more of a classic rock vibe, as with the brilliant ‘Another Place,’ and there is also the odd Muse-esque piano and/or electronica interlude – such as on the ambitious, orchestral ‘Press Play On Tape,’ and on the synthy, electro-rock closer ‘Life_Sweet.com.’

Petrini’s vocals – accent and lyrics aside – are impressive. He has both a gravelly croon, as well as an effortless range. There is a smidgen of Axl Rose in some of the singing, but his predominant inspiration has to have come from the grunge singers – particularly Layne Staley. Sometimes he gets in wrong, as on ‘Pornstar’ – despite having has a real energy to it, it is ruined by some silly, inappropriate spoken vocals.

On the whole, Sunday Recovery’s ‘Coma’ is well produced, and solidly written, with attractive riffs and warm, grunge undertones in the rhythm and vocals – and for those reasons alone it is worth checking out. It is, however, missing some memorable choruses, and I couldn’t help wishing that they’d elaborated on their progressive element. Let’s hope they find a greater creative spark for album numero due.

 

 

Author: Clive Rozario