TRAGIK – ‘Path Of Destruction’
Review by Alan Holloway
Phil Vincent has released a lot of albums. By my count, ‘Path Of
destruction’ is his nine hundred and twelfth, although I may be a few
out. Built like a brick shithouse and determined to bring the same
weight to his music, Phil is never less than entertaining, and although
the Tragic stuff still sees him write everything, the addition of extra
musicians does seem to bring a new dimension to his songs.
This latest album sees Phil teaming back up with his Legion cohort and
serial guitar guest Vince O’Regan, who pops up for lead guitar duties,
with other long term cohort Damien D’ercole adding his own guitar licks
to the songs. Opener ‘Look At me Now’ is a catchy piece of work,
accentuated by Eric Ragno on keyboards, and manages to be punchy as hell
with a stiff melodic backbone. It’s great to hear Phil’s vocals
improving slightly, with some good harmonies bolstered by a crystal
clear production. It’s a pretty accurate indicator for the rest of the
album, which mixes crunchy riffs, melodic choruses and some sweet
guitarwork throughout. Worthy of note is track three, ‘All The Time In
the World’, which ranks as one of Phil Vincent’s most melodic pieces of
work, culminating in a skin chafing solo from O’Regan.
The run time of 55 minutes is bolstered by track six, where it all goes
ambitious with a five part song called ‘Lake Of Tears’, clocking in at
nearly seventeen minutes. To be honest this doesn’t mean that Phil has
gone all prog rock or anything (thankfully), and the time flies by, even
if the reading of it as a single track means I can’t listen to the parts
as individual tracks without faffing about. A little later the album
closes with ‘Thank You’, a sweet song of thanks that could be directed
towards a mother or God.
‘Path Of Destruction’ can stand proudly at the top of the Phil Vincent
catalogue, providing 55 minutes of quality melodic rock mixed with big
riffs and very tuneful vocals. You can’t fault his ambition in chucking
in a six part song, nor his talent for catchy choruses, but you can
fault the decision to stick a picture of a fake breasted scantily clad
lady on the inner sleeve (not to mention the arse shot on the back).
This makes a very decent album look tacky and dated, and I was genuinely
embarrassed that anyone else should see it, especially after getting
interested queries from those hearing the music as I reviewed it.
In the end, it’s the music that counts, and with that in mind I can
thoroughly recommend this album. There’s not a dull moment to be had,
not a track that begs to be skipped. If you’ve ever liked one of Phil
Vincent’s many albums and projects, from solo to Legion, then Tragik
will make you a very happy music fan.