The Girl Who Couldn’t Fly is a conquest of contemporary music that makes new sound old, with a symphonic fusion of stringed and wind instruments, brass ensembles, acoustic guitars, and Rusby’s gripping voice.

Rusby’s songs are often presented in an erotic nature, such as the suggestive opener, The Game on All Fours.

Songs such as Elfin King, Little Jack Frost, and The Lark are wonders that will prevail to be timeless. A cover of Pee Wee King’s, You Belong to Me, is brilliant. Traditional Yorkshire folk songs are included on the album along with a few beautiful lullabies and, surprisingly, a children’s song.

The Girl Who Couldn’t Fly is a blend of musical compositions, including Celtic rock and traditional Yorkshire folk. Rusby’s quivering voice unveils an intimate relationship with the genres featured on this album, arouses listeners, beckoning them to move in for a seductive encounter with her music.

Swedish rockers, Blindside, have gained a loyal following since their self-titled debut album in ‘97. Five albums later, the boisterous Blindside that fans are so mad about still exists, but sadly, the lacklustre production of the band’s latest project, The Great Depression, lowers the excitement level down signficantly.

The previous album, About a Burning Fire, praised by both press and fans, was followed up by tours with Linkin Park and Hoobastank. Blindside’s popularity was on the rise. But after Warner Music Group restructured, the band’s label, Elektra, merged with Atlantic Records, leaving Blindside lost in land of corporate confusion.

The Great Depression is much more subdued than the intensity of Silence and About a Burning Fire (Elektra).  Instead, the band returns to the sound of their first two albums, Blindside and A Thought Crushed My Mind (Tooth & Nail). If this concerns you, rest reassured: this music is not for the squeamish. The band still thrashes around as if they are possessed, as vocalist Christian Lindskog switches from melodic screaming to guttural shrieking at a moment’s notice. Unfortunately, he sounds much better on previous records, where the band’s experimentation with astounding time signature changes and tempo alterations boggles the mind.

This Is A Heart Attack is contagious, with a chorus that mixes harmonious singing with gut-wrenching screaming, aggressive guitars, and  rhythmically-bizarre elements. Put Back the Stars is a display of full-throttle emotion, demonstrating elegant transitions from hardcore carnage to melodious lullaby. Fell in Love with the Game is an infectious infiltration of metal. Yemkela was written out of Lindskog’s experiences in Africa, where he witnessed AIDS and poverty destroying countless lives. We Are To Follow expresses blatant disgust of materialism and the media promoting it.

The Great Depression shows hints of the band’s incredible talent, but is quite simply, under-produced.  Blindside’s music is supposed to be played loud, but I’ll stick to specific tracks or previous efforts if I want to reap the full benefits of authentic headbanging mahem.

Demon Hunter - "The Tritych"   

(Reprise, 2005)