|Rooftop Revolutionaries - 'Resolute' (Self Released)|
|Written by Attila Timár|
|Wednesday, 13 February 2013 03:30|
Los Angeles – the haven of the hopeful and the desperate, some of which are not afraid to go the hard way. Rooftop Revolutionaries is a band with strong social and political commitment, resulting in outspoken views on pretty much everything under the sun and an interesting mix of modern hard rock, pop sensibilities and a bit of late 60s/early 70s revivalism.
Twin riff machines 'Complicity' and 'Save Me' start the release in a convincing way, prompting some potential comparisons to Shinedown, but then 'Row' and 'Folk Devils' clearly show that Rooftop Revolutionaries set out to be much more than just a sensitive version of Chevelle. A definite selling point of ’Resolute’ is the stunning versatility of Swedish/American singer Eleanor Goldfield Swede, who at times comes across as a perfect Janis Joplin/Stevie Nicks mix with a unique character. 'Chains' – with some ominous undercurrents – has Eleanor showing a fantastic range of hues in her voice, from raspy/husky to soaring. This song has not only more emotion than you can shake a stick at, but also some hooks to die for, further strenghtened by the strong political message of the lyrics.
Next comes 'Fortunate Son' that could serve as a fitting soundtrack to a road movie, followed by 'Portrait' that stuck in my head even as a demo: a kind of modern radio rock piece that could easily be enjoyed by the masses. Brian Marshak’s tasty guitar playing is the backbone of the music, always offering just as much as needed.
I would probably have put 'I Am A War' earlier in the tracklist than nr. 8, as this is one of the absolute highlights of the release: it starts with some groove-laden bass and downright menacing overtones, building up into a catchy, overpowering hard rock classic. This, in short, is a perfect blend of tenderness and strength, which is just the very gist of Rooftop Revolutionaries.
'Gotta Move On' completes ’Resolute’ in a rather quite manner, to me, it is very much like a classic seventies Fleetwood Mac outtake. Actually, the whole record sounds like what John Bonham, Lindsey Buckingham and Ronnie Montrose would listen on the backseat of a limo, waiting for Tina Turner to hop in: a seemingly laid-back, even gentle affair that has the potential to deliver some unexpected punches, making it highly recommended for fans of hard rock, regardless whether they are into the classic vibe or a more modern sound.