The mere hint at glam rock either draws a smile or raises a brow, it can't go both ways. You either love it or hate; anything in between is irrelevant. I bet SHOTGUN MESSIAH's fellows are bel et bien aware of this fact, especially when reissuing their sophomore album "Second Coming" during an era which is less tolerant of the virtually defunct genre. And for your information, between 1991 and 2015 spans a lifetime capable of drastically metamorphosing people tastes, ask me while I'm reviewing an album exactly my age!

Unlike its precedent eponymous debut album, "Second Coming" comes about as single-handedly established by vocals in a sort more or less of SKID ROW among others early 90s acts, portrayed by the playful persona of TIM SKÖLD (the bassist turned singer) in a genre gravitating around showmanship as a axis. Predominantly brewed out of straightforward deadly concise chords tied by arpeggio bars, the record beholds its center of gravity relocated from a less significant rhythmic guitar to a solo guitar that assured a performance above average at best, which in spite of it spatially stretched on all three dimensions as an ingenious inspiration of the old saying "distance is depth", with an outcome that's ample, non-condensed, hard rock inclined all while revisiting some bluesy hints on a few tracks as on the catchy "Heartbreak Blvd", the very kind the average metalhead is tempted to denominate "hype", while the whole idea is about living in the moment with less concerns about whether the crumbs of it would ever precipitate in your memory.

Although hinging on chords did generate a stark perceptible bass sound as a cornerstone, it didn't indub make it to the level of a veritable glue between the different components. Take "Red Hot" as an example to feel as if a certain scheme or textbook had to be emulated no matter how unfair to listen from A to Z knowing that I have to wait for the solo in order to taste something quite impressive. Other than that, it grooves like a blaze! On the other hand, the excellent "Trouble" takes it a little further than the pure AC/DC- styled pillar chords to place more bet on the scale and the snare assertiveness, while the power ballad "Living Without You" incorporated acoustic and electric string buzz towards an extensive solo set of that kind you willingly savor via radio waves.

In fact, regardless of its efficiency, a branching out arsenal was put to use, noting the trill and slides of "I Want More" enhancing the basic rock groove but sticking to the same gun along the entire track can be a hit or miss to fall into a redounding pattern, mostly when all you've got in hand is the melodies to fill in with. Quite unprocessed I mentioned but by today's standards, for it used to be the norm in during that hedonistic decade where all is bubble gummy, and that what exactly makes it taste like old wine.

Other tracks are rather drum-backboned like the gasoline-fueled "Nobody's Home", a swift and elaborate dash of the glitter days for the nostalgic Gen Xers, or else the one-two pulse of "You And Me", a 100% rhythm section track with an abundance of exhilarating drum rolls. Keyboards also occupied a spot on "Ride The Storm" but sounding outdated in an antithesis with the timeless shadowy mood of the extended and majestic solo work, an outright memorable dot on the record. Again, the brass section in "I Wanna Know" was utterly disposable as the spotlight was reserved to the sitar effect and percussion in an ethnic slice ornamented by a ramping guitar/bass duo.

Per contra, "Free" pops up as a pop anthem similar to the mega icons melting pop and rock in one cup in a bid to update to the prevailing standards of the day, contrasting with the classic rock revisit in "Can't Fool Me" (the title itself hits a chord with THE WHO's "Won't Be Fooled Again") with its viperous bass and scratching bends, as if some light-hearted bloke blended "Rock 'N Roll" with "Whole Lotta Love" by the mighty LED ZEPPELIN and you'll nod in agreement as soon as it pokes your ears!

In toto, "Second Coming" is more or less a regular album, simply translating the turn of events the glam rock scene underwent during the 1991 turning point for rock music generally speaking. That said, the spirit however carried on the entire record, and hopingly through the sequel band SHOTGUN consisting of two of the original members still embodying the quintescence of sex, drugs and rock 'n roll.