Robot by CJ Wildheart: My review

robotCJ Wildheart released his new album, ‘Robot’ thanks to his fans, who gave him the support to produce it through Pledge. So, when it arrived, I thought I’d write a review regarding my first impressions, having listened to the album just once.

I think it’s pretty safe to say that I like it. Very much.

Also taking part in the recording of the album is much loved Chris Catalyst from the Eureka Machines, and it’s great to see that he’s back recording with the boys!

‘The Robot’ starts with a dirty riff, in a very similar style to early Wildhearts stuff. It’s fast, with vocals that fit perfectly. I loved CJ’s last album, ‘Mable’ (named after his pet chicken), and this track is already showing signs that Robot is going to have just as much, if not more punk rock.

We even hear CJ’s growling voice, which sounds fantastic! CJ’s voice is usually smooth, but here, it sounds more aggressive, and just downright awesome. It’s an amazing way to start the album, and gives you high expetations for the tracks to come.

‘Light It Up’ treats you to a deep, powerful bass line, which is making me want to start headbanging at my desk while I write. CJ’s voice compliments the song excellently, and the song itself has so much energy that it makes you want to see this live. Desperately.

‘Crtl-Alt-Delete’ starts more electronically, and is a different style to the others. It’s more of what I’m used to hearing from CJ. It takes a step back from the aggressive sound, and it’s a great place to give us a break. If the song was full of heavy riffs and dirty bass lines, it would more than likely feel as though you’re listening to one long song rather than a load of different ones.

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Unfortunately, I find this happens a lot with bands I really like, but CJ has got it just right.

I was worried that ‘The Box’ was going to be a similar song to the last when this started, as it begins with another electronic ostenato. However, CJ is back with his power chords and driving bass lines.

With the title of ‘Robot’, I can expect to hear a bit of electronic sounds here and there, but so far, CJ has got the balance just right.

My favourite song on the album comes next with ‘Sleep Deprivation’. It’s daring and totally reminds me of The Wildhearts and Scott Sorry – something I expected, and am certainly not disappointed by.

The awesome riffs, catchy chorus, all with a punk rock cherry on top.

‘Derilium’ is built around a huge hook that will most definitely stick in your head for a long time, with a great chord progressing showing off CJ’s talented songwriting. This guy can make any musician jealous.

‘F.U.B.A.R’ starts with a layered approach. An electronic, high pitched pedal, and a ridiculously dirty base, with the odd guitar slamming in here and there on the offbeat, almost like a tribute to Anthrax. It builds until the drums hammer and CJ’s voice chimes in, and then stops.

After a short break, we have more melodic approach, but it’s still aggressive as hell, and about two minutes in, we’ve got a riff that reminds me a little of Limp Bizkit (I’m not actually sure why I think this), but typically CJ all at the same time.

It’s a song that will leave you feeling out of breath with a sore neck just thinking about headbanging to it.

This is when I saw CJ performing for The Wildhearts at Bristol last year.

This is when I saw CJ performing for The Wildhearts at Bristol last year.

‘No Rhyme Or Reason’ gives a little break, and we’re back to a feel good sound with a great chord progression and an extremely catchy chorus. This song is one that will probably be played loads in my car – it sounds like the perfect Summer’s Day driving song for your average punk rocker. I love it.

The second to last song of the album, ‘I Got You’ is next, and it feels like an album closer. It’s a good job he put this song near the end, because it would have made the album fall a bit flat if it had gone in the middle.

The chord progression for the verse is intersting: CJ throws a minor chord in there when you’re expecting a major, which gives a bit of edge.

CJ says goodbye to us until next time with ‘Sasquatch’. It’s laid back, and it feels like it’s a little bit longer before CJ comes in with his vocals in comparison to the other tracks. The song doesn’t drop when he come in either, making it sound full.

However, just when you think it’s going to be laid back all the way through, CJ comes in shouting, with a loud guitar with a crunch riff.

This album is brilliant. I loved ‘Mable’, and I think I may just love ‘Robot’ a little bit more. Keep up the good work, CJ!


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