American multi-instrumentalist, vocalist and composer PHIL VINCENT is a workaholic. Where recent years has seen him joining several bands (Tragik, Circular Logik, D'Ercole and Legion) and singing on other people projects, somehow he still got some time left to continue with his solo career started in the nineties.
"Slave To Sin" is Phil's new 2014 record and 'solo' is the key word here, although there's some friends collaborating.
Phil Vincent is truly a one man band, and truth to be said, he is pretty good on all instruments. His proficiency makes it possible for him to write, arrange, perform, produce and mix all of his own music.
And the good part of if is that Phil writes very, very good melodic hard rock songs.
Primarily, Vincent is a prolific songwriter, and this was his sole intention when released his first album almost twenty years ago: work as 'songwriter artist', but circumstances changed when received such a positive response from his own performance.
Phil Vincent does it all. He writes the songs, he sings the songs, he plays all of the instruments and produce on his CD's, with a little help from his friends. This dangerously could become 'more of the same' in all his projects, but Vincent is a skilled (and clever) composer managing to craft impactful rockers and good, varied melodies.
"Slave To Sin", as on most of his solo recordings, features some explorations not possible in his other bands, yet always Melodic Hard Rock focused.
So, we find here modern hard rockers with an edge in "Rise", the jumpin' title track "Slave To Sin", and the surprising ballad "Illusion" with acoustic guitars, pianos, and a very, very long atmospheric coda.
"Harmonic Destruction" is the longest Vincent track ever clocking 13+ minutes of epicness, grooving passages, and a middle section that in fact is another 'inside song' driven by a razor riff.
And of course there's Vincent's classic '80s inspired tunes in the commercial "Take Me Back" with a chorus plenty of harmony vocals, the Dokken-esque (and very good) "Mystery", the melodic hard rocker "Bad Girl" and the gentle mid-tempo "Let Me Be the One" recalling Cheap Trick.
Phil Vincent rarely disappoints, and "Slave To Sin" is another solid release from his inexhaustible musical factory.
The man knows his craft, and he's singing better and better everyday building really good multi-layered harmony vocals on all songs, intense guitar riffs and bouncy, rightly played drums.
One minor criticism: the artwork of his solo albums (also done by himself) are becoming almost laughable... It's time to hire a designer Phil, because the quality of your MHR music largely deserves a distinguished packaging.
01 - Slave To Sin
02 - Take Me Back
03 - Mystery
04 - Rise
05 - Illusion
06 - Bad Girl
07 - Let Me Be the One
08 - Harmonic Destruction (physical CD only)
Phil Vincent: Vocals, Guitar, Bass, Keyboards, Drums
Vince O'Regan: Lead Guitar
from zero day blog
But there is more. What to think of a 12 minute track? The title Eye In The Sky might hint at Alan Parsons, musically this is a completely different animal. Starting on a piano in a pretty mellow tempo, the song keeps evolving. Tempos vary and parts exchange without the song losing identity. And thus proof of why Tragik are such an attractive addition to the Vincent roster.
1997 saw Mastermind and multi-instrumentalist Phil Vincent have a handful songs together, who originally were intended for acts like Scorpions, Ozzy Osbourne and even Madonna. After however from their side no interest was present, Vincent decided to publish the whole under its own name with the title Rising. Lots of output later Vincent today is a renowned and in demand composer within the AOR range, with various own projects at the start. Among them also the band Tragik, in which he rocks together with Damian D'Ercole (Guitar) and Dirk Phillips (Drums) and with which this year Hunger is released.
On the edge between melodic and classic hard rock, the disk offers nine tracks, from which the twelve minute “Eye In The Sky”, divided into four different parts, highlights. A madly arranged mini Opus, in which class guitar solos, excellent vocal harmonies and choirs, key parts, which remind of 80er-Pop, and harder passages, give the handle into the hand.
Beyond that: In the opener “Giving Up” Vincent reminisces on the traces of mainstream Whitesnake and “No Tomorrow” became a fine piece of Melodic Rock, in which above all the singing lines convince and which merry beginning proves a homage to Alice Coopers “(He's back) The One Behind The Mask".
Sound wise everything is in the green range and many of the numbers will be remembered fast by the listener. Quality work, which would have benefited from a few more surprises.
Find the original German version here.>