ReAniMate 2.0: The Covers EP

Never ones to sit back and be silent when it comes to taking the rock world by storm, Pennsylvania hard rockers Halestorm have always had lungs of steel and a heart that beats like a kick drum when it comes to getting noticed. With the powerhouse vocals of Lzzy Hale (Vocals/Guitar), the meat and potatoes riffs of Joe Hottinger (lead guitar), the firm buzzing rhythm of Josh Smith (bass) and the Muppets-style madman beats of Arejay Hale (drums), it’s no wonder that this Grammy award winning quartet have been catching the eyes and ears of fans across the world.

With their second cover offering- ReAniMate 2.0: The Covers EP- boasting six brutal tracks that have been transformed with their own ‘Storm twist, it’s clear that Halestorm certainly have a lot to scream about. Since their last effort, 2012’s The Strange Case Of…, they’ve come a long way and this is proved even further through the six track rollercoaster that is ReAniMate 2.0.

"Dissident Aggressor" (Originally by Judas Priest)

Having heard this track live during their last headlining tour around the UK, it is clear enough that this band certainly know how to pack a good punch when they need to. The Priest can be notoriously difficult to pull off and yet, Lzzy seems to replicate Rob Halford with her own signature style, spitting and growling her way through the first track. Her incredible vocal range is immediately presented as she sings a top G to enter the track, only to descend into roars of vengeance before taking daring octave leaps through the chorus.

But she’s not the only star of the show- Joe thrashes his way through a frantic solo with such ease that his likelihood of joining his place with classic other lead guitarists is almost inevitable. Arejay and Josh, the power team, echo their chants of "stabbing and pulling and punching and pulling" whilst throttling their way through the rhythm section, offering an almost military feel to proceedings. An incredible opener, setting the stage for what is to come with what is perhaps one of the most aggressive tracks on the EP.

"Get Lucky" (Originally by Daft Punk)

On ReAniMate 1.0, Gaga’s "Bad Romance" was subject to a rock and roll makeover by the quartet and this time, Daft Punk’s "Get Lucky" was dragged in by the collar to be firmly transformed into something filled to the brim with balls, for lack of a better term. To say that this particular writer was a little sceptical when she heard that this particular song had made the cut would be a slight understatement, but in true Halestorm fashion.

Starting with heavily distorted triplets to escape the electronic beats of the original tracks, the instrumentalists have to be praised in particular here for the alteration of what appeared to be a generic track and turning it into something that could have been passed for an original song. As always, Lzzy gives a vocal-chord tearing performance and yet, she appears to be overshadowed slightly by the men behind her, who take centre stage, joining in the vocals behind their assault of their instruments. This could perhaps turn every sceptic into a believer.

"Shoot To Thrill" (Originally by AC/DC)

Joined with The Priest, AC/DC have such an original sound that it’s almost impossible for any bands, even the best ones in the world, to follow up something so wonderfully unique. And just slightly, they fall a little short of themselves. With Brian Johnson’s signature snarl and grace of a vocal style, Lzzy seems to be turning things her way rather than replicating his classic growl- which depending on the listener, could be both a good and a bad thing.

However, her usually flawless vocals are shaken slightly when she attempts the higher screams that appear to be just out of her vocal range, offering a slightly sharp, caterwauling sound that doesn’t particularly please the ears. However, she redeems herself with a final roaring chorus.

Here, Arejay stands out the most with his attack on his drumkit. Anyone who has had the opportunity to catch Halestorm live will know that when he gets behind the kit, he turns into a half beast half man- energy never seems to elude him. And here, he appears to be right within his element as he beats, kicks and rolls his way through the classic song, making him perhaps the most important member on this particular song. Here, it might just be one of his finest drum performances so far.

"Hell Is For Children" (Originally by Pat Benatar)

As a classically trained musician, Pet Benatar can be hell to sing at the best of times, especially with her rather particular vocal style. For a vocalist like Lzzy, best known for her growling beast of a larynx, this could have been presented as a challenge and yet, she takes it on the chest by revealing the softer side of her voice by choosing to take a slightly gentler approach to her singing, rather than going at it full throttle, guns ablazing.

Much like her vulnerable approach to tracks like "Break In", "Hate It When You See Me Cry" and "Familiar Taste Of Poison", her voice remains like a soaring bird, effortlessly gliding from note to note without so much of a crackle. And much like the latter song, the track immediately transitions into a passionate, anger-fuelled repeat of the song’s subject matter. And although the vocals fly, Joe and Josh immediately take over with a raging guitar solo and rhythm line that seem to fight with her for the spotlight of the song. The gritty squeals and growls of the guitar and the bass immediately drag the attention back to them, where it has been sorely missed for the majority of the track.

"Gold Dust Woman" (Originally by Fleetwood Mac)

Whilst it’s predecessors have been a roaring rip-run of thrashing guitars, pounding drum beats, the grizzly assault of a bass line mixed in the indulgent screams of a banshee in the making, "Gold Dust Woman" brings the listener firmly back down to the ground with a mellower, country/folk feel that remains true to the original track. While both Lzzy and Stevie Nicks both have their own signature ways of putting their lungs of steel to good use, Hale manages to replicate in honor rather than in vain when performing this particular song.

The guitar work is impeccable, as to be expected by Halestorm’s lead axe man Josh, who swaps his signature Fender’s and Gibson’s for an acoustic, backed by an acoustic bass and slow, almost hallucinatory drums that could take any listener right back to the middle of the 1970s. Sorely needed amongst the chaos and riot of the first four tracks, "Gold Dust Woman" is one of the highlights of the album, showing off the bands real skills as a live band, where they’re stripped down to the bare essentials- the gimmick of synths and technology removed in favour of real, ball-gripping rock and roll.

"1996" (Originally by Marilyn Manson)

His signature style, outlandish attitude and general balls to the wall, in your face persona make him a man that’s hard to miss and yet, Marilyn Manson runs laps around almost everyone who tries to come up against him. But defying all odds, Halestorm’s cover of 1996 from the album Antichrist Superstar certainly seems to catch up with him as Lzzy screams her way through his vicious assault on the world, her familiar drawl, best known from "Mz Hyde", making it seem as though it could be an original of theirs.

Listening to the original track, Halestorm’s cover is poppier and a little lighter on the ears when it comes to the vocal line and yet, Arejay and Josh steam their way through the track with the killer rhythm track that created the signature song. For this particular writer, this was perhaps one of the most standout tracks on the album, purely because of the unity of the four members at this particular point.

Whereas before various lines appeared to be fighting with others for the spotlight, the three men and not so silent lady seem to unite for the final song, each sharing out the glory, particularly for Josh as the guitar line is pushed to the side throughout the verses for him to shine. Dependent on the listener some may detest the track and some may love it- but there’s no denying that as a closer on an already gigantic album, Halestorm do a terrific job for the last time.

Halestorm certainly know how to bring a show, and with this second covers album striking joy into the hearts of Freaks who have been waiting for new material to emerge from the Stormers camp and hope that someday soon, something new will surface, they do not scrimp corners when it comes to delivering something that impresses.

With roaring vocals that push Lzzy’s extensive voice range to its very limits and back again, guitar riffs thick with distortion that blaze through the body and circle through the eardrums like wildfire, a heavy bass line that manages to soar past the wall of noise that seem to come from the louder instruments and find its place in the midst of Halestorm’s signature sound and pounding drums that sound as though Arejay’s legs appear to be kicking the hi-hat’s for him, ReAniMate 2.0 proves that having a Grammy doesn’t change a thing for this quartet.

Halestorm are back and bigger than ever - and things only get better from here on out.