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Album Review: Steel Panther – Lower the Bar


Album Review: Steel Panther – Lower the Bar

You have to admire Steel Panther coming so soon after Lexis’ Mum’s Garage but is it premature? The fourth studio album, ignoring the 2003 effort, we aim to Lower the Bar and with a title like that I had expectations that it was going to be a cross between the mythical Scottish metal band LOVEFIST and a Profanisaurus. Maybe a second dig from the old folks home, or more Oklahoma action or another poke through the Gloryhole. But unfortunately not, there’s not much on here to give a review enough inches.

There are none of the power riffs, or the swagger or the ‘rock-out-cock-out’ action that we have come to expect, it’s like the band are trying to become serious. There are the odd spurts of quality here and there but they don’t stay hard on their game enough for this release to be anything like the majesty of their previous full frontal assaults. This release feels like it has been squeaked in the tradesman’s entrance with not a lot of enthusiasm.

Only standout track is Poontang Boomerang which is a cautionary tale about trying to get rid of a Tinder date that that just keeps coming back for more. Musically it has a chorus of Poon-Tang Boom-Er-Ang and if you close your eyes and sing She’s-my Che-rry-Pie the Warrant fairy comes to visit and you are transported back to Glamsville. That’s the stand out track from the eleven on offer here. No doubt Walk of Shame will become a gig favourite but it is delivered much more subtly. Yep, I used that word, but it’s like music first and comedy second, not just on this track but on the entire album.

It’s worth listening to the album just for She’s Tight because it’s a low point for the band, not just unfunny, but just no good and at just over two minutes being a weiner is its only positive. It’s a head scratching moment that one and just sounds lazy. It closes an album that needs a couple of extra socks down the front of the spandex.

The album is like going along to see that edgy, sarcastic and caustic comedian who normally rips holes in reality. Then one night he picks up a guitar and you are waiting for the punchline, ready to laugh, and it never comes. They’ve crossed over. Here we have comedy parody sort of going mainstream and missing both the comedy and the musical quality that we’ve come to expect. I listen to Steel Panther for comedy so hopefully this is a blip and we will get back to All You Can Eat quality on the next release.

Review: Midge Tadger

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