Recently going through a change of their front man, and signing to Frontiers Music, AOR powerhouse band CREYE presents their fourth album here, titled "IV: Aftermath." At the core of Creye remains founding member and visionary Andreas Gullstrand, whose guitar work continues to define the band's signature sound. On "IV Aftermath," he is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, forming a tight and powerful unit that delivers both finesse and impact. The arrival of Simon Böös on vocals adds a fresh dynamic, bringing passion, range that elevates the new material to even greater heights. With "IV Aftermath," CREYE not only honor the legacy of classic melodic hard rock, but also reshape it for a contemporary audience through modern songwriting and refined, sophisticated arrangements. The album stands as a clear statement: CREYE are not just back - they are stronger than ever, firmly established as a leading force in the modern hard rock landscape."

The AOR market has become nearly as saturated as it was in the late 1980's and 1990's these days. For those of you who haven't been paying attention, a quick history lesson. AOR refers to "Album Oriented Rock," and it's a very far reaching umbrella to describe a lot of bands active today, from Hard Rock, to Melodic Rock, and everything in between. The so-called "golden age" refers to its heyday, 1976-1986, at least in the United States, with acts as BOSTON, JOURNEY, FOREIGNER, TOTO, REO SPEEDWAGON, and SURVIVOR. Glam bands sprung forth from there by the thousands, and by the start of the 90s, the genre would take a bit hit…grunge. You remember the Swedish group EUROPE and the Norwegian group TNT, right? They were key in the sound taking a transition away from the US and over to Europe while grunge put the dagger in American acts. Acts like ECLIPSE and H.E.A.T followed, along with many others.

Since that time, AOR has been alive and well in Europe, but most Americans didn't notice. Call that our inherent ethnocentricity. If Americans are bad at one thing, it's not taking into account what other countries can offer us in terms of music, and many other things. In considering the scene today, what does CREYE have to offer? Their first three albums were simply some of the best AOR I have heard in a while, and they have a knack for writing hooks and catchy choruses. That is, after all, the heart of what AOR music is all about. The replacement of a singer can change a band's DNA, but since their guitarist Andreas has always provided the vision for the band, fret not. So, let's get to their newest album titled "IV: Afermath," and find out what goodies the band has for us here.

"Something Missing" storms out of the gate with a weighted, melodic sound, augmented with guitar harmonies and it's as if the band didn't miss a beat. The chorus is of course where the magic happens…a big punch of bright melodies that you can easily sing along with. "Bad Romance" is another song the leads in with a bright punch, and it's almost overwhelming. Coming up with hooks like these is rough business, but the band meets that challenge head on and deliver another massive chorus. "Left in Silence" is a prototypical song from CREYE, and if the towering hooks don't grab you, you might be dead. The verses are just a tease for what waits for you in the chorus…a colossal sound that is so energetic, it might explode. This is exactly what CREYE does best.

"Through the Window" hears the energy on the album continue to grow, and it blasts through all barriers with fire that leaves a trail of smoke in its wake. C'mon, grab a mic and sing along! Simon makes you forget about the previous singer, and he just goes for broke. "Only You" rattles with a slower pace, but the sheer amount of sound the band injects into the song is mind-boggling. He shouts the song title in the chorus, and it's enough to bring you to your knees. "Aligned" hears the incredibly energetic pace slow just a bit, long enough for you to slow down and appreciate what you are listening to. These hooks aren't just catchy, they grab you by the collar and ram them down your throat. This is another chorus that you can sing along with.

"The Last Night on Earth" has a bouncy rhythm that is just infectious, and the cadence of the vocals is outstanding. Although the song does have some longing and sentimental values, it's still quite catchy. "Clay" is the final cut, and man, does the rhythm move. Like the beats of nightclub music, it stays right in your forefront. The tender sound in the verses transforms into an electric beast in the chorus. I will die on this hill: writing hooks is the single most difficult thing in music, and many bands just falls short. CREYE does not. It seems to just come natural for the quintet, although I suspect like anything else, they have to constantly twist and mold them. In the end, they deliver another outstanding effort, and they might be Frontiers Music's best kept secret.